HAA 242 Final

Walter de Maria Lightning Field (two views) 1971-1977 400 Stainless Steel poles -sublime (acryllic harmony of beauty) -DIA foundation seeked him hout -lightning storms -reflects how landscape is controlled -survey 1785 (Thomas Jefferson): the mapping and control -grid with stainless steel -sense of anticipatory experience -new viewpoint of landscape

see powerpoint for 2 pictures

Dada

uses absurdity and ordinary - disrupting the norms - hugo ball: reciting the sound

John Cage

uses everyday sounds like zen buddhism

Minimalism

-1960s Warhol films instead of painting -doesn't impose the artist's views on the viewer

George Maciunas

-Leader of fluxus -manifesto to define the Fluxus group - way of life, not a movement -zen buddhism - community like vincent van gogh's desire to describe his own collective community with art.

Alison Knowles

-Making a salad: similar to happenings, reproductions, participatory and using senses (create music) - brings art back to the dialy living. - her daughter (Hannah Higgins a professor at UIC)

Beverly Buchanan

-Marsh Ruins (1981): history of the racial violence sites; engage geography and memory; counterbalance Marshes Glynn poem and slaves; palimpsest - leave traces of history -Shacks stories: emphasizes history of people; narrative of art in the south, set them on fire as a sculptural and performance; acknowledges histories

Hans Haacke

-Shapolski, et al...: photograph, summary of who owns it and problems of the structure; information with public records; focus on slumlords and corrupt practices; not well maintained buildings; Edward Fry (curator) lost his job at Gugenheim bc the museum was connected to the slumlords; exposed the corrupted institutions and cancelled his show; dematerialization of the art object (purely ideas and conception); politics of art (institutional critic). -Moma Visitor Poll, 1970: information show, criticing the institution; question about rockefellar and vietnam war; allowing public to take over; openness to take on works in exhibition because artist would have protested; questioning institute of art.

Yvonne Trainer

-Trio A, 1966: Minimalist dance, ordinary, everyday , pedestrian, focus on movement and pure form.

Tony Smith

-art institute of chicago, architectual background -utilitarian form -Die, 1962: ominous dark solid object, has the potential, wordplay die as a command and functionality; human size/big in scale; Rusting/decaying feature; Anthropromorphic, relate to Vitruvian, impending death and anxiety. -produced art like "warhol's factory" and loses value bc of reproductions.

Conceptual art

-art is produced through the mind, not the hand -highlight on planning and decision making process -idea behind it rather than form -relinquish expression and individualism -breaking from showing the hand -interested in systems

Maren Hassinger

-black radical women: brooklyn museum -Pink Trash, 1976: bring art to communities that weren't getting art. "love note" a gift of human breath. Souvenier, social sculpture: relationsional aesthetics and create experiences.

Richard Long

-british -hundred mile walk, 1972: engages with landscape without harming it; solitary walk as art; documentation; walking and pace creates different sensibility and pace. - line made by walking (1967): not harming environment with no changes; not permanent and more individual; statement of human impact on environment; preservation; just stepping on grass; -Walking a line n Peru (1972) similar to other walking artworks

Chris Burden

-challenged physicality and what are the ethics of staging work with the body -Shoot, 1971 (see DQ 10) -Back to You, 1974: person push pins into body while people watching; social mores and crossing the line; is it permissable as art -Transfixed, 1974: body as sculpture and medium, nails hands on a car and pushed across the street; sacrifice to be art; collage (organic living); iconography of european art (christ and cross); kept the nails as an artifact and similar to reliquary as symbolic gesture; capitalism and consumerism = highway culture in california; the audience completes the piece.

1960s

-feminism grew in this era -feminism mystique book and Ms. Magazine - Equal rights ammendment and movement -rove vs. wade (women control with her body)

Buckminster Fuller

-geodesic dome -use human culture -close with Asawa -experimentation

Earth Art

-medium is art itself -big scale -entropy and palimpsest and deterioration -turning to the ordinary -outdoor sculptures like stonehenge or gyroglyphs -Refer to the past: landscape painting to document manfest destiny; notion of American West and explorer.

Sol LeWitt

-open modular cube, 1966: dialogue between minimalist and conceptual, pure, perfection, different perspective, industrial material (not made by him but his own concept) (similar to minimalism) -Wall Drawing #146,1972: set of instructions, focus on planning, decision making, people execute the diagram that are displayed, focus on the planning process, geometric -Wall Drawing #146: all Two Part...: instillation of the instruction part; Uses both instructions and planning as main focus -uses geometric, organic lines, systems that can be reinterpreted. -Painted wall, 1998: not produced by him (factory/silkscreen) like warhol; reinstalling and reproduction

Shigeko Kubota

-similar to ono and was exoticizes as an Asian woman in Fluxus. - work seen derivative to Paik's (husband) - Vagina Painting (1965): paints with a paintbrush attached to underwear, use vagina/female genitalia out to he public and direct confrontation; taboo subject; counter to Action Painter's masculinity and to Yves Klein's Blue epoch like using women as tools. -not a final product (not painting on canvas) - using video (cheaper than canvas/sculptures and reached to wider audience) -essentialist: bring forth feminist movement front and center.

Daniel Buren

-up and down , In and out: step by step a sculpture (1977): part of a collective (BMPT); at the art institute steps; context (art defined by context); started outside and inside institute; change the way you look at the environment -Affiches Sauvage (wild signboards), 1968: repasted in ordinary spaces in paris; simple stripes -Sandwich men (Les Hommes Sandwiches): not easily replicated/spectacle; carrying sandwich boards without advertisements; no affirmation it is art unlike galleries; spontaneous (no influence in how you would perceive it); debord - situation - critic how people are absorbed in medium all the time; interaction between the people -volatile time in paris in 1968 = general strikes universities and factories; anti capitalist and consumerism - Work in Situ, 1969: a site specific, work rendered in that space, both exterior and interior, not just confined to gallery, free flow of exchanges between the two spaces.

Richard Serra

-worked in Steel Mills -Splashing, 1968: allowing material to dictate work, throws lead (industrial material) and splashes around room, agressive. -stacked steel slabs: looks like they are about the collapse; pushed to the limit. -Tilted Arc, 1981: public art, view in different perception, controversial(people felt their views were blocked), provoked and divided people literally, the workers wanted the open space, doesn't correlate with environment, changed the dynamics of public art, more contracts, now more community based. -Torqued Ellipse: maneuver work, need bigger and dynamic spaces.

Robert Smithson

- From NJ, rural landscape, part of art students league and how to bring landscape as medium -Asphalt Run-Down,1969: dumping asphalt across quarry; big scale and expensive to create; if no audience the is it art?; man-made; use landscape as a medium in Europe(more support); tar becomes landscape; not necessarily environmentally friendly(contrasts against earth environment activists); sells documentation/disemination because not everyone could see it. -A nonsite (1968): samples of NJ landscape and reflects the photograph; both 2D and 3D -Spiral Jetty,1970: purchased cheap land; was the site of an oil prospector; spiral is an ancient symbol from rituals; lets the environment be/water would overflow, entropy (energy in a system that is not available); how you use that energy to view it; aesthetic quality (pink color); Challenges (public may damage it, not everyone can see it; not know who the artist is if passed by); Influences (space program, sci fi/utopian/myths of atlantis) -Dia foundation founded by Spiral Jetty and supports massive large scale art and maintains the site.

Senga Nengudi

- Inside Outside, 1977: performs with sculpture, industrial material, installation and performance, not a fixed manner, influenced by Yoruba art (african song), honor ancestors we mask and perform, create a community. -Influenced with community by Simon Watt's (Watts Tower) and Women's Building (mainly white), and Gutai like Tanaka's Electric Dress. -RSVP 1, 1977: Panty hose is a surrogate of body, beauty standards, different tones: Race, bodily object (objectifying). Extending out to viewer (move adn touch and engagement), dancers and musicians perform it. -performance: playful, forms take their own shape even though dancer influences the medium but weights counter balance. -room for change/stretch: anxiety to split or snap; show limitation of the body . -build community= interact and play with work.

Joseph Beuys

- a professor, who cultivated cult-like status (shaman/healer of wounds), -wrote narrative of WWII in all of his artworks and performances (similar medium): Tarters wrapped him to heal him which relates to artwork: use of animal fat, wrapped in felt, mode of communication - Chief-Fluxus Chant, 1964 (wrapped in felt, animal fat): communicated to viewer. use of speaker. - The Pack (1969): each sled (animalistic) as a survivor pack. Volkswagon from Germany and relate to Hitler; sled and van go to different directions such as split in moving forward. - lecturing in New York, dusseldorf art academy, he didn't want students to apply with a portfolio, a social sculpture. -Save the Woods: environment activist and wanted to save the animals, art as a method for transformation. -Coyote (I like America, America likes me): emblem in U.S. , interaction with wolf, doesn't touch U.S. soil, plays the role of shepard, Social sculpture/social practice; heal from WWII, getting an experience.

Gutai group

- challenging the mud (Shiraga) -decentering the art world

DQ 8: Buchanan Earth Materials

- explains themes of slavery, civil rights, violence - interested in geography and identity - marsh ruins located near site of racial/violence -monument and reminder -dismissed as black female artist in conjunction with medium - no concept background around it. - shacks create a narrative - pseudo monument and change over time - left to deteriorate. -earch works situtated within sites of racial violence - used personal business cards and photograph - monuments smaller in size and scale - Frustula: tribute toward a former building in NY and NJ; space of memory while a public minister. - outsider artist (self-taught) and not part of art scene.

DQ 5: Fluxus Common Elements

- focus on artistic process and not the finished product. - used everyday objects that were removed and unsigned unlike Duchamps' signed art. - engagement with audience like running hand through beans or take an apple. - break down barriers in social movement and embrace all the globe - how works not political but implied political and challenges institutions. - ties to zen buddhism, when you tryi to define fluxus it means fluxus goes against the oppeness of zen buddhism. - collaboration with artists, family experience - create a dialogue - tension of preservation of the object (return to the original space).

Nancy Hold

- idea of unity of landscape - similar to Fried and Minimalism: theatrical and spectacle; connect with landscape in a brand new way; appreciate the land site - Sun Tunnels (Utah): capture sunrise and sunset; astrological symbols and constellations; sit in tunnels and experience; at lake bonneville that dried up; consulted with those who work with concrete, scientists, archeaologists, engineers etc (collaborative process)

Carolee Schneeman

- interior scroll, 1975: read from book (cezanne) and paints stripes on her body (reference to ancient matriarchy/female authority); read from text and pulls from vagina; body as sculpture (source of interior knowledge); essentialist movement; reclaim the space she has; text was about what she heard as a painter like not showing her feelings.

Walter De Maria

- lighting Field, 1976 (Quemado, NM): sublime(adyllic harmony of beauty); DIA foundation seeked him out; lightning storms, reflects how landscape is controlled, survey of 1785 (thomas jefferson of mapping and control of land); stainless steel grid, sense of anticipatory experience; new viewpoints of landscape. -Studied history and art; a musician -New York, Earth Room: filled with aromatic earth in a gallary, creates a boundary of what you can access; uses sense of smell.

DQ 9: Roland Barthes' Death of the Author

- semiotics, linguistics, post structuralism -language is fixed and how is it perceived. -historically, we have attached the importance to the author (mode of understanding the literature) -Diminishes interpretation for the reader when attaching to author -reader has most important role; they are making the interpretation and meaning of the work. -action writing: get rid of the author; performative; story and author is same thing, but not author's past. -purpose of text is to read, appreciate the writing, author is distant because its about the reader. -author: scriptor, produces the work, but not add explaination of their own for reader. -shortcomings and failures attribute to work not author. -Reception -gives the viewer agency in artworks - think about the audience -destablizing genius -a work of art has multiple levels -shifting viewer but idea remains prominent

DQ 7: Ruth Asawa

-Cast often as white and mother of 3 (no focus on art) -oriental art as primitive and simple and being women and marginalization. -ethnicity: assumed aesthetics in influence due to Japanese ethnicity despite growing up in U.S. -simplified and misrepresent art -critics called her art a women's craft and decorative; technique being for women (no skill) -fountain and public art and education: engage with public counter with elitist art market - called a fountain lady and influences of children image is not art. -way ahead of chronology/easy to dismiss -geography - San Francisco

Carl Andre

-Equivalent 1-VIII, 1966: Firebricks (standard material), horizontal vs. vertical, art as labor, a building that cannot house (easily dimantled/prepped). pop art was made popular by this. -Steel Magnesium Plane: 1969: can walk on it like an object, interaction, high vs. low, deteriorating, hard to conserve with wear and tear; constrast against traditional art where you can't get too close, the floor is arwork, easy to replace but not unique.

Duchamp Influence

-Fountain 1917: the artwork is the idea that is most important -rather focus on product than process - undermines technique, individual and beauty

DQ 6: Michael Fried

-Influenced by Greenberg's formalism - painting on the verge of exhaustion - artists go to 3 Dimensional and seek new modes of art - new genre of theater - audience has a new way to view - sees them as regular objects that are made to have a different experience. -defined minimalism as a "literal view" -3D object and purity -Greenberg: lack of aesthetics -theater: requires participation and presence of viewer. -artist distances themselves from viewer becasue they do not show their process/no brushes. -move away from modernism/post modernism.

Mary Kelly

-Post Partum Document (and part 1): history of raising own child -questiosn expectations of being a women artist (female separatists/isolation of both genders) -how mother hood has been gendered - diary and diagram format -show mundane aspects of labor - frames in a museum style -contents of diaper -shows expectations of child - parodying canonical forms (rosetta stone) -mother hood and child rearing is not fixed (linguistic)

Fashion and Minimalism

-Primary Structures Dress: brought to middle class discourse, increase notarity for artists, how gallaries change artwork. -Chinati Space: show industrial minimalism, old army barracks bought by Judd.

Anne Truit

-See Garden, 1964: Destroyed, get rid of conventions of sculpture, no pedestal, plain, no traces of paint brushes, -shows the pure object (no clue of the intended motivation.

Martha Rosler

-Semiotics of a Kitchen: overly dramatic, agressive, loud, mocking domestication and role of female, vocabulary we are familiar with , pretends to use it; isolates the objects and how we perceive to use it. Based on food programs (julia child); -plays with the absurdity -linguistics (not fixed perceptions) -system of alphabet - how the kitchen has been gendered -kitchen as a femal domain -marxist: how economies structure our lives -video - accessible and easier and cheaper to send to the public and galleries.

Ruth Asawa

-Untitled (wire weavings): reminiscent of water drops, learned weaving in Mexico -Installation, 2005: shadow and sculpture, color with interaction, industrial but not rigid, stimulating, combines with environment (like minimalism) -Hyatt on Union Square Fountain: democratizing art, art to public, children's drawing with aesthetics, not in art auction market (sotheby's and christies), not as valued bc its public art.

Robert Morris

-Untitled 1967-68: changes over time, seriality of forms, allows materials to find own form, giving form to material, focus on process of making things(gravity); uses industrial material/soft sculpture like oldenberg; shows process like pollock. - untitled, 1968-69: found material, leftover from industrial and installation; assembling found material, sculpture dicatates the process; randomness vs. seriality, material have their own form and dictate with environment. less focus on the artist. change over time (deteriorate)

Robert Morris

-artforum: defined what art got written, artists, critics, and historians wrote. -Solor Show, Green gallery, 1964: 3D extractions, beyond painted frame, pedestal like, occupy space all around, brancussi artwork -Untitled, corner piece , 1964: dimension to human body. - Unititled (Battered Cube): High vs. low (pedestal); looking down changes engagement=deemed not important like a pedestal, Change the way we look. -Gestalt Psychology (human perception) -Phenomenology: the idea of bodily experience or interaction with different things.

Body as medium

-body is the medium of the work -body is identified with current movements in terms of endurance to convey the narrative. - body is a burden. -what are ethics and limitations

Anti-Form and Process

-changed the way art is presented. -theatrical, discomfort -uncharted -easily replicated

Judy Chicago

-essentialist position -Dinner Party, 1979: collaboration with 400 people; place settings customized for female artists; highlight women in history; critique christian culture (last supper); ritual and communion (matriarchy/great goddess); 39 disciples/place settings and the tiles have women's names; no central image/patriarchy; central core imagery (use female body as female power); create dialogue; critics deemed it gaudy and a craft

On Kawara

-from Japan then New York and travelled -Location, 1965: based on the places he has been to and influenced by numbers and statistics, latitude and longitude, uses different sizes of canvas. -4March1973: dates are important and made on that particular date; language is based from that location; newspaper from that location and the date was made; without newspaper, there is no context, not necessarily important; is it significant to artist? affirmation that he lived another day like a diary; some connection to dates; cultural meaning to the works. -Assorted Wall Art (I got up and I am still alive): simile things to remember; diary like; mail art (dissemination method of making work);Luay Lippart (curating member shows on a postcard as a number shows); different ways we look at art.

John Baldesar

-i will not make any more boring art, 1971: his students wrote this phrase on a wall, constant writing of a list (like students won't do something); parody of conventional traits

Primary Structures Exhibition

-installations -geometric and purity of art object - determine its relevance and meaning -commissioned by Kynasten Mcshine and Luay lippard (Museum of Modern Art)

Music and Minimalism conceived

-interaction, -simone forti, Platform, 1967: wife of Robert Morris which he made for her, movable, activate perception and body with objects.

Ana Mendieta

-intermedia program/peforms during graduate school; married to carl andrea/died young. -untitled (silouetta series, Mexico), 1976 and untitled silouetta series: 1978: silouettes with blood (uses organic and natural material); silouettes of her own body; connect back to cuba; blood (traditions of other cultures); resist human body being objectified and controls her own body (no distinguishing features/not necessarily feminine/flat, non-relatable materials; no hair/non-feminine) photograph and video - retain autonomy -AIR = promote women artists -Series de la vida (tree of life): melding body with earth; reunite with cuba by using landscape.

Adrian Piper

-light skinned black woman artist - catalysis series (1970): transgress social boundaries (race and gender); cover clothes with wet paint; looks bizarre (douse herself in vinegar); record loud belches; has context; Exposes social engagement and social mores in social spaces; how its easier to not engage than question our reason on a day-to-day -Mythic being, cycle #1, 1974: test of race and gender; puts ads in gallary magazine and questions if ads will be noticed. -Mythic being, "I take on..." 1975: male alter ego; stage performance (calling out white women or acting out an assault); camera plays an affect (audience is aware of art) -her art needs audience to complete the piece through interaction -uses system like a diary -Self Portrait: exaggerating negroid figures, 1981: stereotypes of what she should look like; facial features exaggerated - My calling card No. 2: hands cards to someone when they make a racist remark; conceptual (work is put into the work of the audience); how would the audience react?; politely accusatory; souviner as a way to remember; over time people purposely made racist comments to get the card as a novelty (made a spectacle)

Nam June Paik and Charlotte Moorman

-paik: wrote dissertation on Arnold Schoenberg, Views John Cage, works with video (a new medium at the time). -Moorman: studied music, cello, juliard, went to avant gard circles, coordinator but not writing music. - Robot Opera, 1964: automation, technology, engage audience, collaborative/intermedia. -TV bra for living sculpture: music with TV bra, meant to be watched on a video, shown on public TV, humanize technology and explore media.; use technology we were familiar with and disrupt the viewer; illegal for women to perform in the nude.

Eva Hesse

-painter to sculpture -Hang up, 1966: painting playing the game of sculpture; illusion and representation, phemenological= bodily relationship to the art and want to move through the art. a frame but frames nothing, counterbalance (push and pull), ordinary materials, some minimalism (presence of industrial form and the hand of the artists). -believed artworks can be healing - born in Germany, Netherlands, United States, went to Yale. -Iconography: kidney, seeds, organic, and latex. -Repition 19 III, 1968: sculpture, similar to minimalism via title references, reptition and staged on the floor for bodily dimension to look down; different to minimalism like made by hand, not corporate or industrial, different shapes, displayed irregular, changes each time, see a connection to the artist via the hand. -A Hering Art: change dynamics of placement of art -Untitled (Rope Piece), 1970: Sol Lewitt - replace material, keep original vs. replaceable, switch and move around forms, tension and chaotic order.

DQ 10: Chris Burden - Shoot and how the performance altered the traditional audience

-performance only possible because of the acquiescence of the public. -2 audiences : the initial and after the fact. - audience became innocent bystanders, were passive, equivalent to watching a violent event and not doing anything. -self reflection of audience, left thinking "should i have been there?" -repeated in the news - violence - takes it out of the art institute - all the factors that led up to create the a virtual public and reflects the wider public, the culture of the uniform and non-individual. - creates tension between getting hurt/the legal risk/law enforcement investigates/complicit -American folklore: shooting: rite of passage - going to hospital: what is an acceptable reason? - challenged ethics (role of the audience, artist, institution, and collaboration) -not related to vietnam (small potatos) -how people see vietnam -can happen for entertainment value -has privilege to be able to do this -is it ethical? (should it be reproduced) -not just the individual (there needed to be an audience and shooter)

Joseph Kosuth

-philosophical -one and three chairs: a picture, physical sculpture and description of the chair, linguistic and language; plato's cave (representation vs. reality); three different meduims, undermining our fixed idea of a chair, multiplicity of the idea of the chair, how to get beyond representation of the chair. -Tilted (Art as idea as Idea), image 1966: dictionary definition on a wall; viewer engages it in a different way than a book -imply it depends on reception -forces us to think about terms in different way.

Vitto Acconci

-step piece: completed over 4 months a day; keeps track of progress; anatomical register to see the affects on the body; invites curators to view the progress; make work outside the gallery system and sends to gallery as postcard - following piece: 2 week performance in public space; social mores (where does that social contract end?); documentation; follow a person at a distance until they visit the building; record of the following; psychological tension -Seed Bed, 1972: gallaries commodify everything; sits underneath gallery and loudly fantasizes who they are; makes those vulnerable and connection; community based artist

Marina Abromovic

-testing boundaries with audience and performer -Rhythm O: lets audience do whatever with her; how quickly spectators change; audience finishes the piece; tests ethics and boundaries; paint and pleasure objects; art provides a safe space to test out social construct (creating permissive environment); pushed herself to the limit; when she is no longer an object - people become aware that she is a real person - Imponderabilia: her and Ulay (husband); stood in a hallway and people have to walk through them; create hysteria and anxiety; awareness of body anxiety

Yoko Ono

-travelled with the family; financially ruined by WWII. - used art to REMEMBER and imagination. - provoke and prompt implications of violence. -Maciunas gave Ono her first exhibition -Cut Piece, 1965: different reactions based on locations, dressed nice, had scissors that audience cuts off piece of clothing as souvenier; discomfort of men (aggressive) vs. women (tentative/sensitive); some mockery; nonchalant; questions what becomes permissable; in beginning cut small pieces, towards the end, dynamic changes and cut large pieces; anybody can perform it; a feminist and zen buddhist performance; focus on the process, audience participation, everyday objects, dissolve boundaries between artist and audience; sits in a formal pose, sign of respect to audinece, used invitation, cuts as a process, souvenir as a way to remember. similar pose to Buddha. -period of protests, Used her experience of wwII and does not want people to forget the implications of war.

Donald Judd

-wrote own critic, comments and part of Art Students' league -Untitled 1966: horizontal and vertical version, play with light, occupy space via sculptural form, lack human touch, people feel provoked, compelled to touch them, uniformity of shape and style; satisfying felling with color, utilizes the environment, commanding space.