EXAM 3: Images

Figure 53. Jess T. Dugan, Jess and Vanessa, 2013.

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Figure 54. Lorna Simpson, Untitled (2 necklines), 1989.

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Figure 55. Shirin Neshat, Guardians of the Revolution, 1994

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Figure 56. Zanele Muholi, Xiniwe, Cassilhaus, Chapel Hill, North Carolina, 2016.

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Figure 57. Igor Kostin, Reactor No. 4, Chernobyl Nuclear Power Plant, 26 April 1986.

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Figure 58. Gerd Ludwig, Deep inside Reactor No. 4, Chernobyl Nuclear Power Plant, 2013.

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Figure 59. David McMillan, Portrait of Lenin, Kindergarten, Prypiat, Chernobyl Exclusion Zone, 1997.

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Figure 60. Alina Rudya, The Artist and Her Mother, 17 Lenin Avenue, Apt 24, Prypiat, Chernobyl Exclusion Zone, 1986 and 2011.

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Figure 62. Niels Ackermann, Dimi and Yulia, Slavutych, Ukraine, 2012.

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Figure 63. Rena Effendi, Hanna Zavorotnya, Chernobyl Exclusion Zone, 2010.

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Figure 64. Pierpaolo Mittica, Yitz Twersky Praying at the Tomb of Grand Rabbi Menachem Nochum Twersky, Chornobyl, 2019.

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Figure 65. Paul Fusco, Novinki Children's Mental Asylum, Belarus, 1997-2000.

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Figure 66. Sergey Gashchak, Przewalski's Horse, Chernobyl Exclusion Zone, 2014. Camera trap.

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Figure 67. Anaïs Tondeur, Geranium Chinum, Chernobyl Exclusion Zone, 2011-2016. Photogram.

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Figure 68. Alice Miceli, Fragment of a Field III

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Figure 69. Vladimir Migutin, Ferris Wheel, Prypiat, Chernobyl Exclusion Zone, 2017. Full spectrum infrared.

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Figure 8. Robert Heinecken, Shiva the Lord Whose Half Is Woman, 1990

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Figure 2. Doug and Mike Starn, Attracted Light I, 2000- 2003

- 252 inches wide (20ft.) - Each square is an individual print. - Looking at a macrocosm, its been enlarged, the print is a gathering of fragments. - Each photograph doesn't have clean, sharp edges. Pictures don't look flat and the print is lifting in some areas. - These artists are just making these, doesn't have to be clean, precious, etc. - Photomontage of sorts, but there are no precedence.

Figure 41. Vid Ingelevics, Attention: Mr. Inglewick, still from DVD projection, 2004.

- A collection of envelopes. Vid is an artist, sort of like Hans Haacke, who to work from actual archival material. - Around 2003, his father passed, and while going through his belongings, clearing it out, he came across a stack of envelopes that had been addressed to his father over a few decades. His father came from Lativa, worked in a shipping department of a company in Toronto, for a transport company, and certainly was well aware of his son's interest and are making and somehow had collected these envelopes never having shared them with anybody in the family, envelopes that had his name misspelled. - All he did was made close-up photographs of parts of the envelopes that his father had collected more than likely to keep track of the way in which his name had been bastardized since coming to Canada. he took a video of all the photographs he took, made video, and put them in alphabetical order given the misspelled names. - This is funny, but also tragic in the sense that you wonder if these people were trying to send him a message that he should go back home. - Connection with Hans Haacke because there is 0 transformation of the material.

Figure 45. Gu Xiong, I Am Who I Am, 2001-2006.

- Canada has a very long history of Chinese people coming to Canada in the early 19th century to build railways and they've always been seen as second-class citizen for many years. Toronto is actually the second largest Chinese neighborhood/population in North America after San Francisco. - He decided to make portraits of Chinese heritage and have the words they appear to utter in these works. These were words that were actually crafted by the artist.

Figure 50. Catherine Opie, Self-Portrait / Cutting, 1993.

- Continuing off of the last series, she decided to increase self portraiture to Innoway display her own contribution in the group - You can see after having the tattoo her back is still red, But you have to look at what she's actually decided to display - She's got a couple with two triangles and skirts,Which is a little iconic and tells you that this is the new family - There are going to be many artists today questioning the notion of the nuclear family, that his mom and dad with 2.5 kids or something like that. Shes literally marking it on her back putting it on her self forever putting her sense of pride into this - We have to recognize that there is no shame on her part but there's actually pride in acknowledgment

Figure 25. Rafael Goldchain, Self-Portrait as Pola Baumfeld (b. Ostrowiec, Poland, d. Poland, early 1940's, 2001.

- Did not have any pictures from his childhood, so he decided to recreate a family album, wrote to every family descendant in order to see if there were any pictures. When no picture existed, he invented it, and when one existed, he basically tried to mimic it. - This image features Rafael underneath, But still looks like a beautiful woman. He's wearing wigs, mustache, but he always leaves some summary of what's going on - These prints would be sized to 30 by 40 in - They all have someone of a family feel to them - He actually did see this work as self portraits, he titles them like. every one of these portraits has the reference to the family member he is honoring, even though no known photographs of them exist today.

Figure 17. Annette Messager, My Vows, 1988-91.

- Each photograph is hung by a string with a single pin. They are suspended and the way they are installed is that they cannot be replicated exactly the same. - By hanging these images at different highlights and layers she's also giving the composition depth, and similarly to how Boltanski's working you can view these bodily fragments in an eerie way as clustered limbs and torsos that messenger accounted as a young woman in European churches and also reflects in her wider religious interest in iconography and spectacle. - The title my vows suggest, the word vows is suggesting this communion or packed within a church as well as a secret promise made to one's self.

Figure 46. Annu Palakunnathu Matthew, Anirudh, from The Virtual Immigrant, 2006. Sequential rendering of lenticular print.

- From far you don't notice much, but when you get closer you can see something interesting is going on. - These are known as lenticular prints, done by making two photographs and then slicing them very very thin through a very special machine, then mounting them interleaving one after the other. The photograph has a microscopic death to them and so when you move your head and actually changes . - Had a wonderful idea to make a body of work about what you call the virtual immigrants. The individuals that you see here are basically call operators, and you get a sense that somebody in a foreign country is speaking with you, but these are people who actually are Indian living in India but having to change their identity when they go to work. they also have to change their name for work, take lessons to try to soften their accents. - The way to try to show that in a catalog is doing what's called a sequential rendering and so you actually see for photographs made as you move from left to right, slightly the work goes.

Figure 31. Yasumasa Morimura, Futago (Twins), 1988.

- Futago means Japanese twins. - In 1988, you can see that he is in direct connection with Manet's Olympia, Morimua is a Japanese-born artist who has explored the history of Western Art from the perspective of "What if I were born in the West" - Assumes both the role of the two models, the servant, as well as the reclinee. - Digital technology allows you to make separate pictures and then combine using Photoshop or other image making applications. - Comparison between Walker Evans and Charles Sheeler, Walker Evans was commissioned to become the in-house photographer for Fortune Magazine, a business quality magazine, He was asked to go back to Detroit, he stood back and included the railways wheels in the foreground, and other things, making it not quite as formalist as the Sheeler photographed. Evans wanted to pay homage to the famous picture, and yet he found a way to add his own stamp on it, documentary-style. - Less modernist, more informative with the inclusion of Ford. - Photographers now discoursing with photographers.

Figure 9. Edward Ruscha, Every Building on the Sunset Strip, 1966. 7 1/8" x 460 5/8".

- Had a reflective metallic cover on it (he went all out on this one). Has a little band on it called an OBI-small belt put around the book-usually used for marketing purposes, adding something the dust jacket doesn't have. - Literally took photographs of every building on sunset strip, which is a destination in Los Angeles. - He mounted a camera on the passenger side, drove and simply took pictures making sure that they would overlap enough that you would have the entire Sunset Strip. - One of the great characteristics of modernist aesthetic that he is ejecting here is editing: the one thing that all photographers seem to do. - You get to study the urban development of Los Angeles.

Figure 33. Rick Dingus, Witches Rocks, Weber Valley, Utah, 1978. From the "Rephotographic Survey Project" (1977-80).

- He made a photograph in which he inscribed the framing of Timothy O'Sullivan's 1869 photograph. - This was a big surprise to them as it would have been to every art historian doing photography in the 1970's. nobody would have believed That 19th century photographers would be just as creative as they would today (20th century photographers).

Figure 28. Thomas Demand, Room #2, 1996.

- He's combining his craftsmanship conceptualization in equal parts and pushing the medium a photography towards uncharted territory. - Works much with completely fabricated displays entirely handcrafted of paper such as architectural spaces and natural environments built in the image of other images. - Photographs are removed from the spaces or objects that they are depicting oh, and once they are photographed he destroys the models. - No one ever sees these constructions, it's just a photograph.

Figure 47. Wieslaw Michalak, Paris, from Cities in Mind, 2005.

- His work was very different from the rest of the exhibition cuz these are not portraits of people but they are very much about the process of migration. They are actually transparencies that all had little black boxes we hid all the cables in the wall. What we're looking at here are stunningly beautiful 8 by 10 inch color transparencies that were made by making use of satellite imagery of cities. This one here is Rome, with the Vatican right in the middle of the picture. These satellite images are actually projected on large German atlases that were used in the 19th century for groups of people to decide where they should go in the world. - He took one of these large atlases and he kind of opened it, sort of turned a book inside out, so basically what we're looking at is the spine is at the very back the pages have been spun around to create this kind of accordion-like thing and then in his studio she set up this large book 24 in. in height then projected the satellite images unto these books. - You've got the book itself that serves as a recipient of the image and then you also have the projection continuing on the table and extending all the way to the soft background scene on the right side. - While these are more conceptual in nature they are very profound in speaking about the process of immigration that have given rise very much to the multicultural Groups we have in many countries on the planet.

Figure 3. Andy Warhol, Sixteen Jackies, 1964

- Identify what you see here as so fundamentally different to this point: ***1 constant, dominant force in early 1960's is John Szarkowski in field of photography, has his own interest in formalist, street photography, etc.*** - Breaks free from the tenants of modernism: 1. high contrast, Warhol disregarding previsualization and obsession that use the zone system, that have every gradation from paper white to max. black. HERE, he's interested in the image, not so much the quality of print. 2. He did not take those photographs, wasn't at motorcade that killed Kennedy which was the source of those images. Modernist photographer who doesn't take his/her own pictures. Dada is an anomaly within development of modernist art, rejected notion of originality. Dada artists remind us appropriation, while it becomes huge in post-modernism, it is not unprecedented. Marcel Duchamp: called his own form of appropriation, 'readymades.' - Images Warhol is using in this case are appropriated from the media, which becomes a real source of data, or raw material for artists to work with. - Not new photographs, from media, just a grid-not a new form - Wrote an article that goes back to help us understand that photography has changed radically in relation to our relationship with art. - Photography has radically transformed visual literacy. - He's pointing out that art in the age of mechanical reproduction is an entirely different animal, emphasizing the notion of the Aura. - Before photography, when you got to stand in front of a masterpiece, being in the presence of the artwork spoke to you, Whereas seeing a photographic reproduction of it doesn't do it; it loses its Aura.

Figure 1. Doug and Mike Starn, Double Rembrandts with Stairs, 1987

- In a period where photography is going to re-enter mainstream art. - In the center of painting is a portrait of Rembrandt being mirrored upside down. - The print is not flat, the centity of the surface of the photographic print is being rejected. - These are fragments of photographs - The lines that radiate from the middle that look like aurora lines are photographic fragments of a staircase. - The frame is cut into pieces, the picture is nailed to a board, which is wood. The wood/board is acidic, which contaminates the photograph. - The artists doesn't seem to care whatsoever of the sanctity of the fine print (the modernist tradition of spending hours on the best print) - Rejects much of the tradition of Modernism - The central part of the picture is also not part of their own invention, makes use of other people's work. - Photomontage of sorts, but there are no precedence.

Figure 40. Christina Leslie, EveryTING Irie, 2006.

- Is of Jamaican descent - Decided to do work that actually deals with her family, and having the experience coming to Canada. growing up in Jamaica, you can imagine these people have never seen snow. - It is a work that is very performative. It is written to echo in a sense the patois of Jamaican people, which is the way they speak, sort of a broken English. they talk about their experience, what's this thing about snowflakes, what's this thing about Christmas trees, etc. Includes members all from their own family. - Part of what she's asking us to do in a way is to put ourselves in the shoes of these people I actually in a way embracing a colonialism, when people come in and they impose their own language, and here she's asking us to do that in reverse, to put ourselves in the shoes of these people so to speak to try to speak to them, with them, in their language to reflect their own experience.

Figure 51. Janine Antoni, Mom and Dad, 1993.

- Janine Antoni is much more of a sculpture, she's done photography a few times.She's a performance artist, she's Used her hair as a brush, has made chocolate sculptures by licking the chocolate - This is a triptych of her mom and dad. she has gotten them together as participants to dress up in each others outfits, sort of a gender bender. you've got the two males and two females, it's great. - This is a 20 x 24 in. - This work that has quite a bit of personal identity taking on the question of gender role. - There's nothing like parents to inform all of us about social norms about how identity is actually constructed

Figure 7. Robert Heinecken, Figure Cube, 1965

- Like traditional artists, he would make figure studies, but then he would make a sculpture out of it. Here, he is clearly breaking free from the object as a flat image photograph, essentially making a hybrid.

Figure 42. Yuri Marder, Luna, 2000, from The Exile Project, 1992-present.

- Lived in the cosmopolitan city of New York and actually went around, photographed and interviewed people who live in a language other than their own. - Each of these portraits include words by the sitters themselves and they're all inscribed in their own script, their own written form as part of the images as well. All of them are accompanied with a translation in the catalog as well as the expectation. - They are identified with their first name only oh, the date when the photograph was made, the cultural heritage. Somalia is one of the most troubled places in the world right now.

Figure 52. Lyle Ashton Harris and Renée Cox, The Child, 1994.

- Lyle Ashton Harris is an African-American and she's a queer black man, and so questioning a myth of rape as sexuality and gender As well as Family and cultural history - In this case, they are free counterparts Who assumed the role of males, all three of them are also female. - The Colors in the background are not reflecting in Jamaica, they are reflecting the colors of the national flagged of the universal Negro improvement Association founded by Marcus Garvey. so the background is as well as gender identity in this case. - The top and bottom edges, the lines are not sharp, the edges are not square and the bottom always has an extra lip. they are 20 x 24in. - One was in Boston and the other one was with Polaroid corporation.

Figure 5. Robert Rauschenberg, Untitled Combine (Man with White Shoes), 1955

- Mirror on the bottom, architectural fragments, the box with weird kinds of shapes, many different photographs that are lifted and so forth. - Perfect example of a non photographer (photo-based artists) - Pastiche: He is selecting images from all sorts of different sources, they're not stylistically coherent in any way shape or form, very random but not completely. The point was not to understand his train of thought. - He is assembling his art from a variety of sources from different time periods, different cultures, different media, Etc. - Trying to honor these techniques in the past, not really a parody - Taking raw material from multiple sources an creating a new reality with that.

Figure 48. Sara Angelucci, Everything in My Father's Wallet / Everything in My Wallet, 2005.

- Once you take a look at it, it becomes very interesting - First, you read the title which reads: " Everything in my father's wallet, everything in my wallet" - The story behind this work: in about 2004, her niece came up to her ask for advice on what to do because she loved her, she said she had a box. Her father died a number of years ago and have not looked into it ever since he died. when she opened the box she found a bunch of different stuff including her father's wallet, which had remained intact since his passing with nothing added or removed. she recognized that the objects in her father's wallet could be read very much as a portrait of him because it had picture of his believed wife's parents, then a bunch of Canadian stamps, membership card to the United States, never learned English properly, worked in a steel mill in Hamilton so he had a badge of pride from there, had a ticket that he never used, mathematical sort of equation oh, and a photograph of somebody that was probably a buddy of his sometimes in the military that Sarah had never ever heard his father speak of. - She realized that when you start looking it actually created a portrait of this man, who came to America and carried his portable identity through his wallet and she wanted to do a piece about that. - Realized if she's going to put her dad on the line, she's also going to put herself on the line, and also did the same thing, which equally presents a story which tells much about herself. - One can learn a great deal about who we are by looking at what's in our wallet.

Figure 19. Krzysztof Wodiczko, Arco de la Victoria, Madrid, 1991

- Quantos, which means how much and how many - How many lives are willing to kill in the gulf so we can control the oil? - Based on the war of controlling oil in the Middle East.

Figure 6. Robert Rauschenberg, Retroactive I, 1964

- Rauschenberg is breaking free from the dominance of abstract expressionism, returning to figuration. Like Warhol, embracing appropriation and repetition. - Apparently he's commenting to some extent on contemporary culture, Kennedy being the dominant figure at the time, and the space race. - Used a squeegee to imprint, or pass the pigment through a mesh, otherwise called as silkscreen. Worked on the floor, like Pollock, stepping into the canvas, and squeegeeing it with multiple colors. - Silkscreen allowed to make multiples - He's using his own appropriated, or ready-made images

Figure 61. Maxim Dondyuk, Found Photograph, from Untitled Project, Chernobyl Exclusion Zone, 2016-present.

- Recently did his own visit there and started to find all of these photographs everywhere, rolled up and what not, so he decided to see if he could collect these pictures and restore them, at least make copies of them. These were pictures of people that we're just like the rest of us.

Figure 30. David Buchan, Halo, 1989.

- Refers to Jacques Louis David, Death of Marat, 1793 - He made this remarkable painting about Marat who was a leader of a particular group that was absolutely devastated by the number of murders they encouraged, meaning all the figures that were not fitting their ideological pursuit we're basically killed. Marat had a terrible skin disease that forced him to keep his body in water to soothe the pain. - In this case here, he is shown holding a letter to him by a woman that came in and assassinated him. - David Buchan hear plays with the shampoo Halo and obviously mimics the painting. in this case here, it's about the postmodern gesture of consumerism, on the left, David Buchan has his Marat hold his bank statement.

Figure 37. Jeff Wall, A Sudden Gust of Wind (after Hokusai), 1993.

- Resembles painting from Katsushika Hokusai's world-famous 36 views of Mt. Fuji, c.1832 - Point of comparison between these two is the sheets of paper that clearly go flying into the wind from Hokusai's image, then in Walls image there's a woman here who is holding a little folder and all these sheets are coming out. - This image looks like no big deal, looks like a straight shot, which you can do if you are lucky enough the piece of paper will end up where you want them to go. - There are 5 people visible, and then you see all the pieces of paper flying above them. - This was done over a number of years and it took thousands of digital scans to be put together in order to arrive at this, even though it looks like a straight shot.

Figure 39. Chandana Reddy, Study: (Cultural) Identity, 2006.

- She wanted to do a piece about her Indian Heritage. She was born in Michigan, And on special occasions, holidays and such, she always dresses in her cultural clothing. Being a t-shirt and jeans person, she wanted to do a piece of work that will be in three parts to show the two sides that are sort of split in her mind, 10 in the middle, naked. - explaining the dichotomy that she lives practically everyday, how is she deals with the fact that she is both: mello, and traditional when she wants to be.

Figure 26. Duane Michals, Things Are Queer, 1972. Sequence comprised of nine photographs.

- This is a sequence of nine 5 by 7 photographs - He's using the scale to promote this intimacy with the viewer. He wants you to get close to the image and investigate the visual storyboard. scale and the subjects are being revealed through strategic cropping. - This strategic use of scale is essential to how he allows viewers to interpret his work. There are no representations, indicators, or signifiers but anything that could be construed as specifically as gay, so he's referring to this title of the piece - it's queer, because he was a openly homosexual artist, but he was also an artist creating in a time where this was not necessarily accepted, often mocked and condemned during this era. - He is creating through proceeding in this full circle, but it all has this distinct relationship in contention to scale as well. The surreality of the series suggests that the image is inexhaustible in a way and unknowable, Also getting out this notion that people believe in photos. - He's also questioning credibility, of the artist, of the narrative, as in What is the narrative in it, because in the end it seems that it is just a cycle that we can't really understand what's going along. -

Figure 38. Jeff Wall, After 'Invisible Man' by Ralph Ellison, the Prologue, 1999-2000.

- This is after Ralph Ellison: Invisible Man the novel that comes out first edition in 1952 oh, and this is after the prologue the pictures inspired by the description and the prologue of this book, and so Jeff wall created this insane atmosphere of a man who's basically living on the ground.

Figure 35. Joel-Peter Witkin, Woman on a Table, New Mexico, 1987.

- This particular model is actually wearing a mask, seen in the shadow between her nose and her eye, so in this particular incident she's hiding her identity. - You can see that obviously she is legless. Witkin has a whole range of subject that have deformities, and yet this woman has a beautiful body, beautiful hair, beautiful face, and she is posing in a traditional way whichever way she looks, opposed is definitely borrowed from the history of Art. The mask is most likely from a Renaissance painting. - The bucolic landscape Is a fake painting for a photographic studio. It can be clearly seen here that the nude in nature has some parallel with Monet who himself of course is also making his images relate to the history of art through previous models. In a way, he's asking us to reconsider perhaps the assumptions we hold about beauty. - This woman is put on a pedestal, and it could be said she's being objectified, but at the same time it could also mean she's being looked at with a certain sense of awe, meaning when you put somebody on a pedestal you look up to them, which is why this image raises questions concerning preconceptions of beauty.

Figure 23. Jerry Uelsmann, The Gifts of St. Ann, 1976.

- This work utilizes a couple of strategies that are seen in his work. The use of symmetry in the building's on the left and right are the same even though the views are not taken at the same moment. There are people who are not on the other side, but the building is a flipped negative. - The entire structure in the center is also a mirror image, incorporating some figure like the body in the low center. - One other element that often occurs in his work is that he uses a negative positive somewhat Solarization effect that comes into play, but nobody like him to have Lotus' float in the sky.

Andy Warhol, Three Self-Portraits in Drag, 1986

- Three self polaroid portraits in drag - NOT talking about transition from modernist to post -modernist. - Marcel Duchamp: an artist who is gender-performing - Duchamp's work could be seen as proto-post-modernist... looking at this, it echoes what Duchamp was doing before, so Warhol IS a POST-MODERNIST artist.

Figure 12. Richard Prince, Untitled (Marlboro Man), 1989.

- Uses another example of re-photography in postmodern sense of the word. - Enlarged copy of an ad of a picture very well-known for certain Generations, used for the advertisement of Marlboro cigarettes. White frames surrounds the image. - Richard Prince simply re-photographed from a magazine, and in this case here, it's done in such a way that we don't see any of the typeface that would have accompanied the ad. -

Figure 18. Krzysztof Wodiczko, AT&T Long Lines Building, New York, 1984.

- Works in a large-scale slide and video projections of architectural facades and monuments like he's doing on figure 18. Doing this to explore the relationship between art, democracy, trauma, and healing. - Concerned individual with impact of war and violence on individual lives. He's aiming to use this art for social justice, to break the code of silence, to open up and speak about what's the unspeakable oh, and doing it at such a large-scale, how he's moving his art into the public arena. - Most of the time, installation art is temporary, - His approach to our making also is situated within the realm of critical practice and institutional critique. - The context in which a work he exhibits for the first time is for him like canvas or paint. A fragment of the governing body the presidential hand was asked to stand for corporate business, he offered a suggestion about the class of identity of those forces that hidden under the guide of God, States and nations are the actual receivers of pledge of allegiance. - In a way this is political propaganda, which can draw a connection to what Hartfield did with his montage of Hitler and this idea of politics and money and commodities. - This conceptual are really demands that we start spending time, and the key thing to acknowledge that the building now stands as a human being in a sense, with no windows or anything, hiding what it has inside (cables and such) is there to stand in for the corporate body, in the same way that Regan is pledging allegiance to doing the right thing. - Deconstructing facades

Figure 11. Sherrie Levine, After Weston's 'Torso of Neil,' 1979.

L2, 1:13:00 - Pointing out we've all seen figures from Greek antiquity, the sculpture. - She is questioning here the notion of originality, but she's also working from the feminist movement which is gaining a lot of momentum in the 1960's and 70's. - She is also looking at it from a feminist perspective. - Also questioning authorship itself - She is knowingly breaking the copyright laws, Refuse to be stopped by that legality in which you can't reproduce artworks that are not your own because to her the notion of authorship is linked to patriarchy. - This is very fundamental to postmodern art, that is the questioning of the dominant ideologies in play at a certain time. - She's not doing this to express herself, she's doing this in a sense to make a political point about Modernism, originality, and Weston's claim.

Figure 15. Hans Haacke, Les must de Rembrandt, 1986.

L2, 30:00 - Example of Site-Specific Installation - Black and Gold are colors representing values. Colors infer black workers, gold producing companies. Black and Gold are colors representing values - The tentacles of this organization are all over the place - Institutional critique

Figure 10. Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971. Installation view.

L2, 31:00-52:00 - He brought together photographs of facades of New York City slums, then went into the City Records and dug up as much info as possible about the location: mortgage, size of the building, who signed for the mortgage, etc. Then started to study the results of this to end up making a point about slum landlords in New York who are benefiting from using corporate strategies and facades to hide in a sense the true ownership of these buildings, so they can get away with a lack of upkeep, etc. - Preface: One of the things that made him very famous was that in 1971, the year figure 10 was created, it was intended to be part of a mid-career retrospective in the Guggenheim Museum in New York. 6 weeks before the open, Gug canceled the exhibition, because in his art he was implicating some of the museum board members an unsavory management of funds In the way they had profited from things to end up on the board. These people have money oh, and they don't know anything about art, but they are there because art doesn't work without big money. - To emphasize, when art is censored, it's usually very beneficial for the artist. they become well-known, the work gets discussed, written about, end up in better position then not canceling the show and being unnoticed. - He likes to present facts and let us draw our own conclusions. Very powerful in finding the perfect form for the content he wants to address. FORM & CONTENT CANNOT BE DIS-ASOCIATED. They go hand-in-hand. - Second half of display, 142 buildings were part of this survey, shows names and connections, revealing facade. - He's using the physical facades of the building to deconstruct the hidden facades implyed by all these names of the shapoltze co. basically the mechanization of the land owner. - Photography here is clearly not a mean of self-expression but its an expedient mechanical recording device so he can get to much bigger issues. - By presenting the resulting photograph void of aesthetic pretension together with type data sheet, he adopted the marketing strategy employed buy low budget real-estate agents to advertise available properties.

Figure 16. Christian Boltanski, Reserves: Purim Holiday, 1989.

L3, 56:49 - Considers these "monuments" - Components: enlarged, the lighting - Demands active participation from the viewer - Because it is embedded with different things because they vary on different things based upon your own experience, your own sense of history. - Light is supposed to illuminate the artifacts, but here he is kind of turning it inside out. - Masking to unmask, but here he is showing the cables so what the heck? - These photographs are juxtaposed stacks of discarded items and clothing. A ritualistic use of photographs. Neat orderly rows, scaled all of their grainy images equally. Not only is the light and the quality of the image taking away from the identity of the individual and confronting it with this light source quite overpowering to it. - How can we not think about the gas chambers oh, they were told to undress and go into these Chambers naked, with their clothes put on the side. There is a human being in each one of these pieces of clothing that are now dead and stacked right there. - This work is about demoralization: a process to make us remember the people we lost and have left us under very dramatic conditions of political power. - The light makes them look like religious Souls that are ascending into heaven, And the wires create interconnected cables that resemble sort of a neural connection, and interrelationship as a whole. - How you feel a certain day will change how these work. You bring as much to these works as they are giving to you. - Site-Specific Installation

Figure 24. Cindy Sherman, Untitled, #96, from Centerfolds, 1981.

L4, 37:50 - Not from the Untitled film stills - She was commissioned to do a series by art form that was never published. In this case she went from 8 by 10 in to 24 X 48 in she wasn't going to undress yourself to please the male audience. What she did here was appropriate in a way the viewpoint the camera looking down down on her like an object of Desire, as we can see her right hand holding the classified. Maybe she is looking, would love to have the companion, and so the camera looking down aggressively on her. - The looking down on the subject is what she's questioning here

Figure 27. Robert and Shana ParkeHarrison, Visitation, from Earth Elegies, 1999-2000.

L4, 58:00 - All of these photographs are constructed, fabricated, elaborate sets, all made from found objects. They do this to combine these scenes with real and constructed landscapes. What they're trying to do is that they're showing the deconstruction that we bring to the world and they're kind of displaying this long and painful road to extinction. - They're creating work advocating for change, that's not only visually appealing but doing this to evoke change and to send a greater message about the environment and how we are connecting with it.

Figure 32. Mark Klett, Pyramid Isle, Pyramid Lake, Nevada, 1979. From the "Rephotographic Survey Project" (1977-80).

L5, 22:00 - Second View: Rephotographic Survey Project (1977-79) - They brought prints with them, but they also had an acetate that would actually mount on the back of their view camera, and by doing some sort of trigonometry and measurements, they would try to find the exact match. - Done in a modernist way, really going out to re-photograph the site to see if we can learn something from the passing of time. - We're not replicating the technique, but rather the subject.

Figure 34. John Coffer, Civil War Re-Enactment, 1999. Tintype.

L5, 46:00 - You would wrongly assume this is a 19th century photograph in part because it is actually what we call a tintype: the most common and cheapest form a photography practice worldwide but specifically in America roughly the 1860s to the 1920s they kept continuing to use and now there's a big Resurgence of old processes. - There's a book called Antiquarian Avant-garde (using John Coffer to stand as all these photographers, who include our own Susan Evans) who have Revisited the old techniques. - In this case, John coffer is part of the group of individuals who are in the business of reenacting the American Civil War.

Figure 44. Kip Fulbeck, The Hapa Project, 2001-present.

L6, 50:00 - Most senior artist of this exhibition. I've been involved for a number of years in creating a body of work that turned out to be quite substantial, had a major publication on it, that deals with the so-called Hapa people. Hapa is a term that was actually introduced in Hawaii, a derogatory term to speak down to people who have a mixed cultural heritage involving the Pacific coast. His father was Caucasian and his mother was Chinese and he was one of the artists early on to actually question artists and also a social activist to really question through his video work especially why is it as an American why I always have to choose between my mother and my father because of the cultural heritage since every form that he had to fill was always like the way you have male and female and no other option, it was Caucasian or Asian, etc. - He said we have got to have forms that have a category that says other, so he decided to invite a number of people of Hapa descent to actually pose for him. - He has approached these people and was very standardized, even almost an anthropological way of photographing them. They would all be photographed head and shoulder they were not nude, Just bare shoulders upward. He asked that they wear no makeup, no jewelry. He asked them one question: "What are you?" He had been asked this himself a thousand times, told them America, they insisted to ask: "No really, where are you from?" So he would let them self-define who they were. Also, he recorded their roots. - The point of this is that we are all of mixed Heritage whether we like to admit it or not, and so in a sense he's basically saying that by the time we get to 400 years from now, we shall all be as diverse as possible because that's what globalization is doing. - He has a website where there is an entire section and he ended up inviting people to submit their own photographs sort of as a take on his project and thousands of people responded. All of a sudden, this term Hapa which was very negative has been re-appropriated as a term of pride.

Figure 49. Robert Mapplethorpe, Jim, Sausalito, 1977.

L7, beginning - Broke boundaries for lots of people with extreme formal qualities in his work. - Started out with releasing images that dealt with masochistic practices among the gay World in New York City - Made a stunning number of photographs of flowers which has been read in sexual terms by many - Renowned portrait photographer of the cultural scene - Quintessential formalist technician, often printed with the expensive platinum process, wood frame - Body itself has become subject work for his work. Spent a great deal of time photographing sculptural works. He was looking for the essence of the male beauty that was defined and sculptures from antiquity. Can recognize what he's looking at is the formal beauty of the male body, the musculature and the formal positioning and so forth. - His aesthetic is perfectly in line with the best of what the modernist. What broke the mold is his selection of subject matter. There's a very large section of his work that deals with gay life in New York as well as California, so he is also dealing with relationship across race. - There is always a mix: on the one hand classicizing features, with many ethical forms, but they can be very austere and raw and are on hibited in their content especially in terms of sexuality. also occurred at the time of the AIDS epidemic. - First openly gay artist to actually do work that was meant to be confrontational but also celebratory, work that was really designed to put forth his community that exuded a sense of pride in his community.

Figure 36. Joel-Peter Witkin, Woman Once a Bird, Los Angeles, 1990.

The grotesque is explored in remarkable ways with his quotation of Man Ray - This is actually a pairing that Witkin himself did and he collaborated it into a book that was putting some of his work in relation to historical precedent and this was one of his own contributions. Quote: - Here is what he has to say about "Woman Once A Bird" who obviously once had wings: " I met the person who became woman once a bird in New York City. She was attending a convention of body worshippers called dressing for pleasure. I felt out of place at the convention since I was wearing neither plastic nor rubber clothing but I forgot my discomfort when I saw this creature capture the prize in the small waist and corset contest. While planning the photograph, I realize that viewing this model with a tiny waist from behind would make her more mysterious. Showing her hair less would make her grotesque. Man Ray's (something) guided me in this. The two F holes that the surrealist photographer gave to his model Kiki de Montparnasse could be the wounds that remain after the wings of freedom where removed. Man Ray shows Kiki in a turban of the seraglio as an Escapist. My model is a prison of flesh."

Figure 43. Danny Custodio, leave/remain/return #2, 2005.

They're very large sort of groupings of photographs each mounted on a single board. he was at the age where he was just about to finish his BFA and actually move to his own place in Toronto, getting out of the nest of his Portuguese heritage where he had been for his whole life until he made this work oh, so he is looking through the family album and he is making images of some of the details of texture, of embroidery and other things his mom had at the house, Granite contour and its kitchen.In the center, he is actually in the act of skinning a pig and roasting it or something to that effect, which is something Danny grew up with, and so his work is titled leave/remain/return. So speaking of his own identity leaving the nest and so on.

Figure 14. Bernhard & Hilla Becher, Water Towers, 1978-85.

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Figure 21. Arnaud Maggs, Notifications, 1996.

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Figure 29. Gregory Crewdson, Untitled from Twilight, 1998-2002.

- Works with a team accrue like a sailmaker and a director, so join Michael is establishing the notion of directorial mode, Gregory crewdson it's coming up in fabricating these ideas and sets and this is not a one-man job it includes painstaking preparation of elaborate sets. - Gregory's father was a psychoanalyst and his office was downstairs in their family home oh, so when he was young, he would always be very curious to know what's going on and he would hear all these stories, only part of it of course, then in a way that's kind of what he's recreating here, this crazy world. Psychology and psychoanalysis are very much a part of this. -

Figure 4. Andy Warhol, Gold Marilyn Monroe, 1962

L1, 45:00 - Warhol is very interested in the notion of s celebrity. In this case, he has given her even more golden hair, giving her context. - How is this a photograph? It is actually printed with dies on canvas (silkscreen). - He used mass-produced images, had a huge collection of Marilyn Monroe's promotional stills, accounting in the thousands. - He started reframing the photographs, which was very uncommon. - He got his ideas for Marilyn from works he saw in Orthodox church. - He did not hesitate to recast the same photograph taken by somebody else, re-cropped and all.

Figure 13. Barbara Kruger, I Shop Therefore I Am, 1987.

L2, 1:33:00 - - -

Figure 20. Ydessa Hendeles, The Teddy Bear Project, 2002.

L4, 11:30 - - -

Figure 22. Yves Klein, Leap into the Void, 1960.

L4, 11:30 - We think the man is going to crash to the ground, but we need to deconstruct it. This must be a fabrication. There were two separate photographs taken in the same light, same time of day minutes apart. They had multiple angles hoping to catch the real thing. Perfect example of how people created things, fabricated things before Photoshop.