Art Since 1945

What does "relational art" (also known as "relational aesthetics") mean, and how does it redefine the roles of the artist, art object, and audience participation?

"Relational art," or "relational aesthetics," refers to an artistic approach that prioritizes social interactions, human relationships, and collective experiences as the focus of artistic practice. In this paradigm, the artist creates situations, environments, or events that encourage audience participation and engagement, blurring the boundaries between artist, artwork, and audience. Relational art redefines the roles of the artist as a facilitator or catalyst for social interactions, the art object as a temporary or ephemeral experience, and the audience as active participants or co-creators in the artistic process.

Art Activism

1960s - 70s Art activism refers to the use of artistic expression as a means to advocate for social, political, or environmental change. It encompasses a diverse range of practices, including performances, installations, visual art, and multimedia projects, aimed at raising awareness, inspiring dialogue, and mobilizing action on pressing issues. Art activism often blurs the boundaries between art and activism, harnessing the power of creativity to challenge injustice, provoke critical reflection, and promote solidarity within communities. a term used to describe art that addresses political or social issues is art that catches the attention of more than those already involved in causes for change.

Conceptual Art

1960s - 70s Ideas or concepts constitute the artwork which need not take physical form Conceptual artists conveye ideas through paitnigns and sculptures but more often through readyamdes and found objects, film, video, photgorpahs, etc Conceptual art existed most fully in artists mind and required a new kind of mental particpation from the viewer.art in which the idea presented by the artist is considered more important than the finished product, if there is one. a work in which the ideas are often as important as how it is made An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.

Joseph Kosuth: One and Three Chairs,

1965 Conceptual Art 3 different representations of a chair. What is the concept of a chair? How does it include the use value? What constitutes a chair. It's about language and meaning, art and meaning, abstract concepts and how they are applied to reality. Piece consists of a physical chair, a photograph of the chair, and a textual definition of a chair By having them all together, it invites the viewer to contemplate the nature of representation, language and concept of reality Physcia chair represent the tangibility, photograph represents a representation of the chair and text provide concpeutal definition of a chair raising questions between physical object and its rpeesenttion through language challenges traditional notions of art by focusing on the idea behind the artwork rather than its aesthetic quality

Lawrence Weiner : A 36" X 36" Removal to the Lathing or Support Wall of Plaster or Wallboard from a Wall -

1968 Conceptual Art Weiners work often consit of textual statements or instructions that articulate conceptual ideas rather than physical objects Weier emphasizes the use of language as the primary medium of artistic expression. Text serves as both the artwork and instruction for its realization blurring the lines between the ideas and its execution By presenting set of instructions rather than physical object weiner challnegs traditional notions of art as tangible artifacts Viewers are prompted to image the process of removing a section of walla dn to contemplate the significance of this act within the context of art and architectureWeiner was a prominent figure in the Conceptual Art movement who is known for his text-based works and unconventional approaches to art. This specific piece was one of his "removal" works, which involved the pull out of a section of a wall to expose the underlying structure. The meaning of the piece varied depending on the viewer, but some possible interpretations included: 1/Challenging traditional art forms: By removing a section of a wall and presenting it as art, Weiner forces the viewer to reconsider what constitutes art. This challenges conventional ideas of art being confined to a canvas, sculpture, or other traditional mediums. 2/Deconstructing artistic processes: The act of removal exposes the underlying structure of the wall, which can be seen as a metaphor for examining the foundations and processes of art-making itself. 3/The importance of context: The artwork's meaning is highly dependent on its context. The removal of a section of a wall in a gallery or museum setting is an act that carries more significance than if the same action were performed in a private, non-art space. This highlights the importance of context in defining and interpreting art. 4/The impermanen

Vito Acconci - Following Piece

1969 Performance Art Acconci followed a random strangers in public spaces through NYC until they entered a private space explore concepts of intimacy and social interaction Acconci blurs the lines between intimacy and surveillance his close physical promixty ot his usbect evokes feelings of discomfort and unease The tension prompts viewers to reflect on the complexities of interpersonal relationship and the invasion of personal space He documented his action through written accounts of photgrpahs , creating a record of his performance Serbes as a form of memory, this also invtes viewers to consider the relationship between performance, documentation and memory in the context of his work Crituqe of social norms and expectation in behavior of pbuic spaces

David Hammons, Injustice Case

1970 could be conceptual art Addresses issues of racial injustice and systemic discrimination Hammons created Injustice Case in response to the Bobby Seale Trial. Essentially, Chicago 8 defender and Black Panther leader Bobby Seale was gagged and chained to his chair during his trial in full view of the jury and charged with conspiracy for the intent of causing riots at the 1968 Democratic National Convention - briefcase serves a potent symbol of legal authrityand power In this case, we see the formal and contextual elements of violent flatness that points at identity being skin-deep. - traditonally briefcase associated with lawyers, judges etc the breifcase represents the legal system and its ability to enforce justice and uphold the rule of law In this, the briefcase is worn nd damaged, suggesting a failure of justice system Use of chains converts sense of imprisonment or restrain

Hans Haacke - MOMA Poll

1970 Institutional Critique MOma - museum of modern art Site specific this piece consisted of a large board with 2 transparent boxes attached each containing stacks of ballots and pencils the 2 boxes were two questions one asking museum visitors to vote on whether they agreed ro disagreed with the viesnam war and the other asking visitors to vote on whether govern nelson rockefller should be removed from the board ot trustees of the msuem it challenges the notion of museums as neutral spaces spereate from political and social issues MOMA poll questions authority and power structures within cultural institution comforts viewers with undefomrtable questions and encrage critical reflection

Adrian Piper, Catalysis IV

1970 - 71 performance art photography; gender politics piper would engage in proactive and disruptive actions while moving through public spaces challenging social norms and promoting reaction from those around her Fuses personal experience , pushing her audience to rethinking convention considering gender, class or race. politically charged performance. She walks through NYC with a handkerchief stuck in her mouth and on a bus. She absorbs stares and dirty looks, there was curiosity, confusion anger, etc. Leaves the audience with them to ponder on their own behavior. Indirect Staten on inequities and respect. Addresses gender, race and sexuality. She address gender conventions in the concern of women who find themselves sounds and objectified. Th valuable lesson, she discovered the way men react to women's outward appearance by objectifying her. The power of her silence speicifcallt as a black women heard more than if she could have stated aloud. - Engaging in social taboo behavior South to draw attention to the underlying social norms and conventions that govern public behavior Crituque societal csontructs such as race,g ender and dienity Ecnoruaged viewers to reflect on their own beekifs and preducied as well as societal structure

Performance Art

1970s artist uses their body, actions, and presence as the medium for creating art. Unlike traditional forms of visual art such as painting or sculpture, performance art is live, temporal, and often interactive, unfolding in real-time before an audience. It can encompass a wide range of activities, including gestures, movements, spoken word, sound, music, and visual elements. the essence of the performance lies in the live experience, which is unique to each viewer and cannot be replicated exactly. a work involving the human body, usually including the artist, in front of an audience an art form that combines visual art with dramatic performance.

Institutional Critique

1970s - 1990s critically examines and questions the structures, practices, and ideologies of cultural institutions such as museums, galleries, and other art establishments. This approach often seeks to expose underlying power dynamics, biases, and assumptions within these institutions, as well as their role in shaping artistic production, presentation, and reception. the systematic inquiry into the workings of art institutions, such as galleries and museums reveals how museums, galleries and other organizations affect how art is produced, displayed or marketed Through their work, these artists have contributed to a deeper understanding of the complex relationships between art, institutions, and society.

Feminist Art

1970s - 80s But also ongoign Is the art of the 70's which focused on the power that kept women in a subordinate place in society and the arts. It tackles issues of identity, sexuality, gender roles, equality, and the ways in which the female is treated in society. sprang from the broader womens liberation movement of the late 1960s First geenreation feminist artists aimed in critic Moira roths words "to make art about woemn from the womans poitn fo view" Feminist artist rejected impersonal formalist adn minimal aesthetics and created art based on their own experiences, turning formalist criticism of their work as too "feminine into a source of pride Their art investigated political issues central to womens liberation actiivsm, inclduing gender sterotypes, domesticitty, adn female sexual imagery. Also incorporated the methdsa nd materials of traditional wmens crafts such as sewing, weaving , knitting, quilting to rehabilitate womens creative heritage and challenge to hierarchical and patriarchal distinction between low crafts and high painting and sculpture

Video Art

1970s and after artists' use of the medium of video in installations and gallery exhibitions, beginning in the late 1960s An art form first developed in the 1970s, in which artists use video equipment to stage and film performance or capture spontaneous events.

Daniel Buren, Inside (Center of the Guggenheim)

1971 Institutional Critique ADDMORE Installation where he was invited to create site-specific installation Guggenheim is spiral ramp that creates a dynamic and immersive space for art Buren is known for his striped patterns By intervening in the central void, Buren may have sought to dra attention to architectural features Buren may have aimed to disrupt conventional modes of viewing and encourage visitors to reconsider their relation to the museum environment His work challenges the assumption of how art should be displayed, who gets to decide what constitutes art, and how visitors engage with museum spaces

Sol Lewitt: Untitled

1971 Conceptual Art Painted wood A prime example of minimalistic and conceptual approach to art The way the mind and the eye and physical space interact The visual perception is complex. When you sit it at first its chaos but as you begin to look at it you untangle the puzzle and you begin to engage in your intellectual problem solving.

Beyte Saar, The Liberation of Aunt Jemima

1972 Created during the heigh of the civil rights movement Its a mixed media that reaprprriates and transforms derogatory stereotype soft African American owmen Aunt Gemini character is powerful symbol of empowerment and resistance incorporates varios mol elemtns lik ether central figure of aunt Gemini is depicted with her hand on her hip, a gesture of assertiveness and defiance Raises fist is a symbol - Her stomach is supposed to be a notepad - the handgranade and rifle was symbols of empowerment. Hand grenade you will have your power and use it as a weapon. - incorporated found objects like household items, and spiritual symbols she creates a rich visual tapestry that reflects the multifaceted experiences and identities of African American women - Calls attention systemic injustices and advocated for liberation nd empowerment Such co-existence of a variety of found objects in one space is called assemblage, a type of sculpture that emerged in modern art in the early twentieth century

Eleanor Antin, Carving: A Traditional Sculpture

1972 Conceptual Art Anti engages in an act of performance art where she rpesnets herself as a sculpture caving a block of marble into a traditional sculpture, but actually without any material Anti challenges the conventions of classical culture and the authority of traditional artistic practice The absence fo real material subverts expectation and calls into question the value placed on craftsmanship Inivtes viewers to contemplate the nature of artist labor and role of the artist in creative processcomprises 148 black-and-white photographs documenting the artist's loss of 10 pounds over 37 days. Every morning she was photographed naked in the same four stances to record her barely perceptible self-induced weight loss. Over the course of five weeks, she followed a diet plan from a popular women's magazine and documented the changes in her body that resulted from it. Antin relates her creation to classic Greek sculpture: just as a sculptor carves off layers of marble to reach a form that is aesthetically ideal, Antin continually loses weight to make her body conform to certain standards of appearance.

Anselm Kiefer - Heath of the Brandenburg March

1974 Postmodernism/New Expressionism monumental painting like barnett newman scale is so large you kind of get consumed by it evokes specific geographic location in germant and reference the miltaryty army Kiefer draws on historical anducltural reference in his work to explore gemernays complex and often troubled past use of earthy tones and organic materials such as straw and ash creates a sense of decay suggestive of aftermath or war focuses on death and destruction, showcasing what life in Germany was like after World War II. He combines surreal elements with symbolism to create a visual narrative of post-war trauma and devastation.

Gordon Matta Clark - Splitting (in Englewood)

1974 what movement is groundbreakign work of architectural intervention and conceptual art Clark took a house slated for demotiiton in New jeweet and made a series of recise cuts through its structure dividing it into two halves. Creates dramatic trnadomfration of arhictecural space. This act of cutting through the structure served to decostruct the triadiotnal notion of a hose as a stable, inhabitable space trnasofmring into a dynamic ope stucutre engaged with ideas of space and materiality in architecture invites viewers to reocnsife relationship to architectural space and the materials that comprise it

Martha Rosler, The Bowery in Two Inadequate Descriptive Systems, 1974-75

1974- 75 Conceptual Art abandoned storefronts and building façades with metaphors for drunkenness composed on typewritten pages, and was created during a severe economic crisis in New York City at the end of the Vietnam War. photogrpahic series consists of 24 black and white photographs paired with text. Image capture scenes of the bowey neighborhood in NYC known for its history of homelessness, poverty, and social issues Accompanying text provide description that critique the inadequacy of both visual representation and language in capturing the complex realities of ubran life Rsoelr challenges the idea that a single visual or linguistic representation can fully encapuslat the compleixies of a place or social issue Addresses broader social issues such as urband ecay and poverty. Photograph capture the harsh realities faced by marginazlied communities inviting viewers to confront uncomfortable truth about society The work consists of 24 framed panels, each juxtaposing a photograph of a loosely covered typewritten page with a photograph of a storefront, entrance, or façade (the first three panels lack the urban scenes). The pictures were taken by Rosler along the Bowery, a famous street in the lower part of Manhattan. The neighborhood had for decades been widely identified with alcoholism and transiency, but also for lofts rented by artists, as well as clubs and small theaters. By not relating text and image in a functional way, Rosler opens up an unoccupied field of association between the two system showcases urban and human decay. As such, she draws our attention to the invisible gaps of absent people in the scenes, as well as the ethical dilemma at the heart of the documentary tradition: to speak for another is at the same time to silence them. That silence is further perpetuated by the aestheticization o

Mary Kelly, Post-Partum Document

1974- 79 Feminist Art can als be conceptual art consits fo 6 sections each epxlorign different aspect of the relationship between a mother and her child during the early years of the child life. Work incorporates a variety of material, including documents, photograph, stained nappies, her Childs drawings, and objects and accompanied by extensive theoretical and autobiographical writings exploration of experiences and challenges of motherhood devles into typical and emotion and psychological aspects of motherhood captures intimate and often messy realities of caring for a young child feminist critique of traditional representations of motherhood in art and culture shows how art can engage with soicla and political issuesPost-Partum Document is a six-year exploration of the mother-child relationship. When it was first shown at the ICA in London in 1976, the work provoked tabloid outrage because Documentation I incorporated stained nappy liners. Each of the six-part series concentrates on a formative moment in her son's mastery of language and her own sense of loss, moving between the voices of the mother, child and analytic observer. Informed by feminism and psychoanalysis, the work has had a profound influence on the development and critique of conceptual art.

Judy Chicago, The Dinner Party

1974- 79 Feminist Art consists of a alre triangular table set with 39 place settings, each commemorating an important woman from history or mythology - table is adornd with ceramic places each representing on e the women - 999 names are inscribed on the floor base - a celebration of women achievement throughout history. By highlighting contribution of women who have been overlooked or marginazition in traditional historical narratives, judy seeks to reclaim their stories and give them the recognition they deserve - Needle work and painted ceramic which is typically represent female identity - chicagos work engages with themes of gender equality and female empowerment and struggle for women rights inviting viewers to reflect o tehs issues within the context of art and culture

Carolee Schneemann, Interior Scroll

1975 Feminst Art Took a scroll out of her vagina to read to audience; Uses the body as a source of strength and power; scroll was a feminist piece challenges traditional representations of the female body and sexauality sotok naked usigna mirir to examine her body before taking the scroll out of her she then real aloud from the scroll by incorporating her phydisl presence into the performance, she comfrotn viewers with raw, unapologetic reality of the female body, challgin societal taboos and convetions surroudgin female nudity and sexality

Ana Mendieta - Untitled from Silueta series - double check photo

1976 Feminist Art powerful work of art that epxlors thems of identity, feminist, and the body medniete creates ephemeral fofrms using natural materials such as earth, sand, leaves and flowers By meging her body with the landscape, she blurs theboundaires between human and nature she challenged traditional representation of thefemale body in art, recliing agency an autonomy over her own image nad indeityt She dre on her cultural heritage ad explore displacement, belonging nad ctura memory ??

Marina Abramovic and Ulay- Imponderabilia

1977 Performance Art the artists stoof facing each other in a narrow doorway of a gallery , leaving only a narrow passage for visitor to walk through The viewer was confronted with having the chois to brush against Abramovic and ulay engagigni in intimate physical encounter Explores human interaction and personal boundaries Froced to cofmfront discomfort and vulnerability blurs the line between boundaries between performers and spectator - viewers are avtiviy apart of the performance

Cindy Sherman - Untitled Film Still No 6

1977 Postmodernism Appropriation Art What she is doing The artist is doing a series of photogrpahs wher eshe is using her self as the model Both the model and the photograph They are original pictures Not apprrpiated in that sense of her own images, but there is apprriation in something else Evoking, certainkidns fo cinematic worlds, certain type of films of drama shows Analyzing representation, reesentation of femininity, and she is oign that by sort of morphhing herself into these different types of figures What does it say about identity/ She poses for the camera herself and apprpriates stylistic devices from film, TV, advertising, fashion, and pop culture rather than quoting specific preexisting images From late 1970s to present, sherman has adopted a tremendous variety of roles and guises,continually transforming her appearance through makeup, wigs, costumes, prosthetic devices and more recently digital manipulation Series called Untitle film stills, sherman impersonated young women acting in classic hollywood and foreign films, films noirs, and B movies from the 1940s to the 60's. sherman impersonated young women acting in classic hollywood and foreign films, films noirs, and B movies from the 1940s to 60s She apprirpiated the format of actual film stills - the 8 x 10 inch black and white photogrpahic prints that studios produced to publizize their movies Many of the subjects int eh untitled film stills appear vulnerable or anxious like th e professionally dressed young women in no 21 who is visually hemmed in by the tall buildings looming behind her in the lwo angle shot Sherman contnually shifting self rpesentation in a variety of patently artificail feminine roles made the untied film stills models of the postmodern feminist conception of gender as perofrmance - a manipulation odf socail and cultrual co

Michael Asher, 73rd American Exhibition, The Art Institute of Chicago

1979 Institutional Critique knoqn doe radical departure from traditional art displays Asher's intervention involved removing the interior walls of one of the museum's galleries, exposing the structural elements such as studs, pipes, and wiring. This act of deconstruction effectively turned the gallery space into a construction site or "non-space," disrupting the typical exhibition environment. By exposing the gallery's structural elements, Asher highlighted the hidden infrastructure that supports the presentation of art within the museum. Asher calls into question the authority of the museum and its role in mediating the presentation and reception of art.

Laurie Anderson - United States I-IV

1979-83 Performance Art It combined music, photography, film, drawings, and animation with text and consisted of 78 segments organized into four sections: Transportation, Politics, Money, and Love. A multmedia perofrmance piece that consists of series of interconnected sotires, songs and visual leemtns that explore various aspect of American culture,politics and identity combined elements of music, spoken word, visual projection tc. anderson weaves together a narrative that moves fluily between personal anecdotes ,s social commentary and surreal imagery Delves into the complexities of American dienity addressing these such as patriotism, consumes, technology and mameircan dream - narrative that reflected on various aspects of American life, including technology, consumerism, media, and identity. questions traditional notion of natironl identity

Richard Prince, Untitled (Cowboy)

1980 - 84 Postmodernism/ Appropriation art Does apapriiate exhisitign images In this case, the crappy blurry quality is also part of the prince original Marlboro cigarette ads. These ads depicted scene of cowboys on hroseback riding through the western wilderness. Represented idealized image of macho american masculinity and that inspired Richard - Advertisement for cigarettes that capitalize and promote on the connection to a lifestyle Person of white american freedom, white masculine dominancy over nature is evokes in these images. - 35mm camera, cropping them to eliminate text. removed the branding and text from the original ads and rephotographed the images, presenting them as his own artwork.

Art Activism in 80s

1980s

Postmodernism/Appropriation Art

1980s Appropriation art is a technique or approach in contemporary art where artists incorporate pre-existing images, objects, or ideas from popular culture, art history, or other sources into their own artwork. The process involves borrowing, repurposing, or recontextualizing existing material to create new meaning or commentary. Appropriation art often challenges notions of originality, authorship, and authenticity, and it can serve as a critique of consumerism, media saturation, and cultural stereotypes. By appropriating elements from diverse sources, they may highlight connections, contradictions, or tensions within society and culture.

Postmodernism/New Expressionism

1980s Postmodernism: They often incorporated elements of popular culture, mass media, and consumerism into their work, blurring the boundaries between high and low art. Postmodernism encompassed a wide range of styles and approaches, including appropriation, bricolage, and the use of multiple perspectives. Some prominent postmodern artists include Cindy Sherman, Jean-Michel Basquiat, Barbara Kruger, and Jeff Koons. Postmodern artists rejected the idea of an overarching narrative or universal truth and instead embraced fragmentation, irony, pastiche, and deconstruction. New expressionism emerged as a reaction against the formalism and conceptualism of minimalism and conceptual art. Neo-Expressionist artists sought to reconnect with emotion, intuition, and subjectivity, often employing bold, gestural brushwork and vibrant colors. Their work was characterized by a raw, visceral energy and a rejection of the detached, analytical approach of previous movements. Neo-Expressionism encompassed a variety of styles and themes, ranging from figurative to abstract, and included artists such as Jean-Michel Basquiat, Julian Schnabel, Anselm Kiefer, and Francesco Clemente.

Jeff Koons - The New Shelton Wet/Dry Triple Decker

1981 Postmodernism/ Appropriation Art - Vacuum cleaners in plexiglas with fluorescent lights - Consumer culture - Think about how displayed conventions in commerci retail spaces how they create meaning - Koons took 3 pristine vacuum cleaners from the Shelton company in a display case. - Took something from consumer world and presented them in a very pristine that elevated it into the realm of art. Talks about the need and desire for new items. Readymade to describe everyday mass produced objects. Their newness and treating them as eternal virgins.

Jean-Michel Basquiat, Horn Players

1983 Postmodernism/ New expressionism - It is a tryptic of three panels. It is a work that is thinking about how to let music speak. There are music notes, the visualization of sounds - The use of line that draws the mind Sketching and media The blockiness of the quick sketching His cultural context and subject matter A lot of his work is thinking about representation How cultural sigifiers are represented in the world of acrylic and oil paintstick on canvas Artist born in Brooklyn, New York, Peruto Rican haitan parents - Artist rebelled against middle class upbringing he was born into, some traditional forms, triptych, canvas, oil paint - Modernist expression: influence of graffiti art Flattened darkened backround, flat patches of color, thick lines - salute to jazz musicains Charlie Parker and Dizzy Gillispie in either wing, head seems to float over outlined boddies and disvolve as you go down the body Focus is on contrast and juxtaposition, not on balance or scale Words are those attributed to teh musicians Memorialize Charlie Parker and dizzy gillepise who he memorizloies in this painting. Bold colors of black background. Ornithology referring to both a nickname for park and the title of one his musical compositions. - A tribute to these two men and looking at african Americans musicians and artists are going to be removed to the history of art. So there the crossing out. - graffiti that portrayed class struggles and racial injustices

Barbara Kruger - We Won't Play nature to your Culture

1983 Postmodernism/ Appropriation Art 1983 Your looking at an image of a female face with leaves over her eyes and presented as a magazine illustration Shows a female figure embedded in natural elements Its that kind fo evoking in cultural stereotypes and challenging them that kruger typically works with - addresses the cultural perception of women in many ways - It represents the relations between women and culture. She made large photographs using apprriated blacka nd white photgorpahic images, mostly from the mid 20th century mass media source,s overlaid with her own pithy texts in future bold italic typeface and framed in bright red strips Kruger gave her works the visually arresting look of advertisemnts However her works were not designed to stimulate consumerist desire but to challenge stereotypes and expose power, especially it affects women under patriarchy Kruger's poster features a vertically bisected positive negative photograph of white woman's face overlaid with the text Your Body is a Battleground

Gerhard Richter - October 18, 1977

1988 Oil on canvas Return of figuration and representation art Figureaitnn came back in a way that shows how artist continue to create productive space in doing things with representational art German artist who was thinking about what painting does and relating to photography He is working on photographs in the press of the Engaged in domestic acts of terrorism in germany and it was part of that moment east.west activism in ways that was prominent in europe. Photography frames subject and how it brings it own kinds of set of implied meanings.

ACT UP (gran Fury) - Kissing Doesn't Kill, Greed and Indifference Do - double check photo

1988 Activist Art Kissing deosnt kill Bus advertisiement project for art against aid sin san francisoco usa Another acitivst project - in the context of AIDS They are addressing that kind of hoophobia and misinfromation Making it more familiar and less scary by fiving visibility to different types of identity Two men, two women, and a biracial couple Working against h background in which mos images associated with HIV, have absolute extreem tragedy and dying. ACT up shows us happy peopel kissing

Guerrilla Girls, Do women have to be naked to get into the Met. Museum?,

1989 Activist Art Represnetatiom might also have the power to shift things Billborad and bis adverstismetn, originally for the public art fund , new york - Famous image of a old painting of jean auguste ingres in 1814 Apprpirating this painting with a gorilla mask on its face They are also doing other elements that provides meaning By changing the head into gorilla head Its obscuring the head so you cant connect, its obejctivification of the female body Takes away assumption of an attitude Object of the gaze -

Andrew Fraser - Museum Highlights: A Gallery Talk

1989 Institutional critique Andrea Fraser leads a tour of the Philadelphia Museum of Art in the guise of a fictional docent named Jane Castleton. Dressed in a smart grey suit, Castleton, who introduces herself as a 'guest', 'a volunteer' and 'an artist', speaks directly to the camera as she walks around the museum. Castleton offers her thoughts on the building's toilets, cloakroom and shop. She also pronounces, in strange digressions and with great passion, on broader political and social ideas. T There is often an odd disjuncture between the docent's words and the objects she is describing, such as when she points to an exit sign and claims, 'this picture is a brilliant example of a brilliant school'.

Young British Artists

1990s A loosely-affiliated group who met in London in the late 1980s Participated in two of the most shocking exhibits of the late twentieth century: Freeze (1988) and Sensation (1997). Known for their entrepreneurial spirit, their use of shock tactics, and their wild partying - especially during their 1990s heyday. Choice of subject matter and perceived lack of artistic skill makes their work postmodern, but has been widely criticized in the media.

Culture Wars

1990s clashes within mainstream society over the values and norms that should be upheld Political conflict in the United States between "red-state" Americans, who tend to have strong religious beliefs, and "blue-state" Americans, who tend to be more secular.

Photography and Painting in the 1990s

1990s and after

Relational Aesthetics

1990s and after focuses on human relationships and social spaces rather than emphasizing art objects in private galleries, homes, or museums Art criticism that focuses on human relationships and social spaces, rather than emphasizing art objects in private galleries, homes, or museums.

Felix Gonzalez-Torres, Untitled (Portrait of Ross in L.A.)

1991 consist of small, hard candies in variously coloured wrappers. In each instance viewers are invited to take a piece of candy—to suck on, to keep, to share. This, of course, risks the loss of the installation entirely, but the instructions are that they are to be constantly replenished with an endless supply. Untitled (Portrait of Ross in L.A) comes with instructions from the artist to keep it at an ideal weight of 175 lb. Although it avoids literal representation, this is a work about queer desire, queer bodies, and queer history. It is named after his love and life partner, Ross Laycock, and is about his personal experience of AIDS as well as the AIDS Crisis as a whole. The 'ideal weight of 175 lb' is a reference to Ross' healthy weight, which diminished because of the virus. Ross died from complications due to AIDS on January 24th, 1991

Jeff Wall, Dead Troops Talk(A vision after an ambush of a Red Army patrol near Moqor, Afghanistan, winter 1986)

1991 - 92 Referencing history painting Huge scenes of important events that dominated western art history. Scenes that are posed, full of drama Picrtroial traditions This is the previous afghanistan war The stagedness of this scene is soemthing that walls approach He is somebody who thinks of vicotirian conventions Staged in several parts, the photograph depicts a battlefield with soldiers coming back to life. The men show a range of emotional responses to their newfound transcendence, from humor to confusion. In a strange paradox, the troops appear more concerned with interpersonal relationships than with the historical meaning of their own actions. - depicts the aftermath of a fictional attack on a Soviet Army patrol by the Mujahideen during the Soviet-Afghan War, near Mogor, in the winter of 1986. - The thirteen Soviet soldiers are seen rising from the dead, still with the visible effects of the deadly attack: wounds and missing limbs and one of them inspecting the content of a bag

Rirkrit Tiravanija, Untitled (Free), 1992

1992 In new york Tables, stool, food, crockery , and cooking utensils Objects familiar with a globalized world This si the piece he becomes well known for At a commercial gallery in new york These objects look chaotic He is switching the contests of private, storage, and public area of the gallery He took out items and took off the door form the storage area And that stuff is being switched He also sets up a items for a curry But moreover it is centralizing the social relation that forms on the one hand there is artist and gallery visitor and on the other social relation that forms via the gallery visitors facilitating a social situation ??Installation- rejection of art as being aesthetic- "Untitled (Free)" where he created the back of an art gallery into a kitchen and served free food the whole week it was in place to the public. These acts of generosity guarantee that audiences interact with his art and delight in it. His artistic communication is a model of hospitality. More intent on dismantling social formalities than constructing aesthetic formalisms.

Yinka Shonibare - How Does a Girl Like You Get to Be A Girl Like you

1997 Artists whos own personal history very much participates and comes otu of colornial relations and histroy. Work that back then thought as this kind of way of challenging monlithic or uniform narratives about origin and questions on authenticity. Ties along with postmodernism Dilodign a fixed meaning on what seeing things are Its a combination of headless mannequins dressed in the Victoria era which is embedded in colonialism The fabric here, however is wax printed boutique fabric which has ahistory of its own that the artist is bring in The practice originally in Indonesia which wer brought bt the Dutch. Then it was taken on by British manufacturers of cotton that mass-produced Te fabric in itself is embedded in colonial relations. By pointing to the complexity of this with all their difficult and oppressive origins he is challenging the uniformity and solidity of any one particular history or narrative. - a textile associated with Africa but whose origins are embedded in an oxymoronic narrative of colonial embezzlements and reappropriations—with aristocratic Victorian dresses, producing the unique aesthetic that has given the artist worldwide recognition. - Produced in the context of a postcolonial artistic deconstruction with clear postmodernist overtones

William Kentridge - Seated Couple (back to back)

1998 Finding a meaning in human figure White south africana artist and his family had been involved in social rights struggles Telling stories of south africa Contemporary political and social meaningful sibject matter The tecnqieu is stop motion Its hand drawn images and then erasers and redraws In a way that stille xhisists on contemporary relevance - combining the political with the poetic . Dealing with subjects as sobering as apartheid and colonialism. Kentridge often imbues his art with dreamy and lyrical undertones or comedic bits of self deprecation, making his powerful messages both alluring and ambivalent. Stop motion of charcoal drawing.

Shirin Neshat, Turbulent

1998 Video Art blac and white imagery and powerful storytelling. - delve into issues of femininity, religion, identity, exile, and cultural history - use of music, poetry, and visual metaphor creates a sensory experience that engages viewers on both intellectual and emotion levels Explores themes of gender, power and identity within the context of the Iranian society The work features two parallel screens depicting a man and a woman each facing the camera in separate projections Turbulent delves into the compelcation of gender relations in Iranian culture juxtaposition of the mana nd women on serpeate screen highlights the stark contrast in their experiences and societal expectation. The women sings passionately in a solo pweoemance, while the man sits silently emphasizing tradition roles Allows viewers to experience the artwork from multiple perspectives simutatnously.

Thomas Hirschhorn, Bataille Monument, 2002

2002 Kassel Documenta 11 temporary strucutre in a working class neighborhood in Kassel. Required people to go out of their comfort zones. - dedicated to the French intellectual and philosopher Georges Bataille. - situated his work out of the main site, in a working class suburb of mainly Turkish inhabitants

Ai Weiwei, Fairytale, Project for Documents 12, Kassel Germany

2007 making a work for that site specific work take its own exhibition into its own account Orchestrated a bunch of Chinese citizens to... Designed thinking about travel, globalism, etc Created dormitories for these participants and a circle of chairs in an exhibition space. This is an example of an artwork that is made specifically for the situation. - 1,001 people from Mainland China to Kassel, Germany. The objective was to view and participate in Documenta 12, a global art convening that occurs every five years in Kassel. - They lived together in communal housing, briefly experienced life in Kassel, and visited Documenta 12 where Ai Weiwei had installed 1,001 wooden chairs as a physical instantiation of Fairytale. - Ai Weiwei intentionally selected those who could not travel otherwise; a laid-off worker, farmer, or villager from the countryside found themselves on an airplane, participating in cultural exchanges that, under normal circumstances, would have been impossible.

Doug Aitken - Station to Station project

2013/2015 maybe its just 2015 A coast to coast train project where the artist and number of artist friends travel across the country in US and set up events, ahpappning and concerts This documents that joinery and featured project that invited immersive audience participation. Experiential engagement with an artwork is huge in different ways. Engage with a situation or work is a huge dimension in which artists continue.

How did ACT-UP use appropriation and transvaluation?

ACT-UP (AIDS Coalition to Unleash Power) utilized appropriation and transvaluation as powerful activist strategies to challenge mainstream narratives and institutions regarding the AIDS crisis. Through appropriation, ACT-UP appropriated symbols, slogans, and imagery from mainstream culture and politics, repurposing them to draw attention to the urgency of the AIDS epidemic and to demand social and political action. Transvaluation involved subverting or reinterpreting existing meanings, norms, and values associated with AIDS, such as stigma and discrimination, in order to empower affected communities and challenge societal attitudes towards HIV/AIDS. These tactics allowed ACT-UP to raise awareness, mobilize support, and effect change in policies and public perceptions related to AIDS.

What issues were central to art activism in the late 1960s and early 1970s?

Art activism in the late 1960s and early 1970s addressed a range of social and political issues, including civil rights, feminism, anti-war protests, environmentalism, and LGBTQ+ rights. Artists and activists sought to challenge established power structures, advocate for marginalized communities, and effect social change through their creative practices. They used various mediums, such as performance art, street theater, public installations, and community organizing, to raise awareness, provoke dialogue, and mobilize collective action around pressing social issues of the time.

What do Barbara Kruger and Cindy Sherman "appropriate" in their work?

Barbara Kruger appropriates found photographs and mass media imagery, often combining them with bold text in a graphic style to create provocative and politically charged artworks that critique consumerism, gender roles, and power dynamics in society. Cindy Sherman appropriates personas and visual tropes from popular culture, staging herself in various roles and identities to challenge conventional notions of femininity, beauty, and representation in art and media. Both artists use appropriation as a means of interrogating and subverting dominant cultural narratives, while also exploring issues of identity, agency, and representation. Barbara Kruger and Cindy Sherman are known for appropriating images from popular culture. Kruger often incorporates found photographs and overlays them with provocative text, challenging societal norms and power structures. Sherman, on the other hand, appropriates various personas through self-portraits, using photography to explore and deconstruct stereotypes related to gender, identity, and media representation.

How does the use of the medium in contemporary art differ from the kind of medium specificity that Clement Greenberg advocated in the 1950s and 1960s?

Clement Greenberg advocated for medium specificity in the 1950s and 1960s, emphasizing the inherent qualities and characteristics of each artistic medium, such as painting and sculpture. He believed that art should explore and celebrate the unique properties of its chosen medium, free from the influence of other mediums or external references. In contrast, contemporary artists often embrace interdisciplinary approaches, blurring the boundaries between different mediums and incorporating elements from diverse artistic practices to create hybrid forms of expression. They may use mediums in unconventional ways, combining materials and techniques to explore complex themes and concepts that transcend traditional disciplinary boundaries.

How do Conceptual artists redefine the object of art?

Conceptual artists redefine the object of art by shifting the focus from the physical artifact to the underlying idea or concept. They often prioritize the process of artistic creation and the exploration of abstract concepts, such as language, identity, and perception, over traditional notions of craftsmanship or aesthetic appeal. This redefinition challenges viewers to engage with art in more conceptual and intellectually stimulating ways, encouraging critical thinking and reflection on the nature of art itself.

What kinds of meanings did David Hammons's and Betye Saar's choice of materials contribute to their work in the 1970s?

David Hammons's choice of materials in the 1970s often included found objects, such as discarded items and urban debris, which carried social and political connotations related to race, identity, and urban life. By repurposing these materials in his artwork, Hammons challenged conventional notions of beauty and value, while also commenting on issues of race, consumerism, and the urban environment. Betye Saar also utilized found objects and assemblage techniques in her work, incorporating items such as vintage photographs, dolls, and household objects to explore themes of African American history, spirituality, and identity. Saar's choice of materials carried personal and cultural significance, drawing on imagery and symbols rooted in African American folklore, spirituality, and resistance. Through her assemblages, Saar engaged in a process of reclaiming and recontextualizing these materials, weaving together narratives that challenged dominant narratives and celebrated African American culture and heritage.

What is the role of the art medium (broadly defined as the materials and techniques of making in their culturally known contexts) in contemporary art?

In contemporary art, the role of the art medium extends beyond traditional materials and techniques to encompass a diverse range of practices, including digital media, performance, installation, and conceptual approaches. Artists often explore the cultural, historical, and social significance of materials and techniques, using them as vehicles for expression, critique, and dialogue. The choice of medium can shape the meaning and reception of the artwork, influencing how viewers engage with and interpret the artist's ideas and intentions.

What kinds of meanings did the artists' choice of materials contribute to feminist art in the 1960s and 1970s?

In feminist art of the 1960s and 1970s, artists' choice of materials often carried symbolic meanings related to gender, domesticity, and the female experience. Many artists used non-traditional or everyday materials associated with women's work, such as fabric, textiles, and household objects, to challenge patriarchal norms and reclaim traditionally feminine spaces as sites of creative expression. By subverting expectations and repurposing these materials in their artwork, feminist artists sought to critique societal expectations of women and highlight the value of women's labor and creativity.

What aspects of the art museum did Hans Haacke investigate in his work MoMA Poll?

In his work "MoMA Poll," Hans Haacke investigated the relationship between art institutions and the public, specifically focusing on issues of power, privilege, and representation within the museum. Haacke's installation featured a poll asking visitors to vote on whether they believed the museum should be transparent about its donors' financial contributions, revealing underlying tensions between museum governance and public accountability. By engaging viewers in the decision-making process, Haacke prompted critical reflection on the role of museums in shaping cultural narratives and serving diverse communities.

What kinds of roles did the body serve in performance art in the 1970s?

In performance art of the 1970s, the body served as a central focus and medium for exploring themes of identity, gender, sexuality, and the human condition. Artists often used their own bodies as sites of experimentation, endurance, and vulnerability, pushing the boundaries of artistic expression and challenging societal norms. Performance art in this era frequently involved acts of bodily endurance, ritualistic gestures, and the blurring of boundaries between public and private spaces, inviting viewers to confront their own perceptions and experiences of the body.

What is the role of the idea or concept in performance art?

In performance art, the idea or concept plays a central role as the driving force behind the artwork. Unlike traditional art forms that prioritize the creation of physical objects, performance art emphasizes the exploration of ideas, themes, and concepts through live actions and experiences. The concept often shapes the form, content, and execution of the performance, guiding the artist in their exploration of personal, social, or political issues and inviting viewers to engage with the artwork on a conceptual level.

How does Jean Baudrillard define Postmodernism?

Jean Baudrillard defines postmodernism as a state of hyperreality, where simulations and representations come to replace the reality they purportedly represent. He argues that in postmodern society, symbols, signs, and images have become detached from their original meanings, leading to a blurring of the boundaries between reality and illusion. Baudrillard sees postmodernism as a condition characterized by the proliferation of simulations, spectacles, and media representations, which shape our perceptions of reality and contribute to the erosion of authentic experience.

How does Jean-François Lyotard define Postmodernism?

Jean-François Lyotard defines postmodernism as an incredulity towards metanarratives, which are grand, overarching stories or theories that claim to provide universal truths about the world. According to Lyotard, postmodernism is characterized by a skepticism towards the existence of any single, objective truth or overarching narrative, leading to a fragmentation of knowledge and a proliferation of diverse, localized perspectives. He sees postmodernism as a condition marked by plurality, diversity, and the coexistence of conflicting truths and interpretations.

What does Jeff Wall's "pictorial photography" have to do with painting and cinema?

Jeff Wall's "pictorial photography" draws inspiration from both painting and cinema, combining elements from each to create highly constructed and staged images. Like painting, Wall carefully composes his photographs, paying attention to lighting, framing, and visual storytelling. Additionally, his large-scale photographs often resemble cinematic scenes, capturing moments frozen in time that evoke narrative possibilities and cinematic realism.

How did Judy Chicago and Mary Kelly, respectively, approach the question of women and nature in their works in the 1970s?

Judy Chicago explored the relationship between women and nature in her iconic installation "The Dinner Party," which featured a triangular table adorned with place settings representing significant women throughout history. Through this symbolic celebration of women's achievements, Chicago sought to reclaim women's place in history and challenge the patriarchal narratives that have marginalized them. Mary Kelly, on the other hand, approached the question of women and nature in her work "Post-Partum Document," a multi-part installation that documented the artist's experiences as a mother. Kelly used everyday materials and archival documentation to explore themes of maternal identity, labor, and the body, highlighting the complex and often overlooked connections between women's reproductive roles and the natural world.

How does Neo-Expressionism differ from Abstract Expressionism?

Neo-Expressionism emerged in the late 20th century as a reaction against the formalism and abstraction of Abstract Expressionism. While Abstract Expressionism focused on spontaneous, gestural mark-making and explored the subconscious through non-representational forms, Neo-Expressionism reintroduced figurative elements and narrative content into painting. Neo-Expressionist artists embraced bold colors, energetic brushwork, and emotive imagery to convey personal and societal themes, often drawing on a wide range of historical and cultural references.

What were the early 1990s "Culture Wars" ("Art Wars") in the U.S. about?

The early 1990s "Culture Wars" in the U.S. were a series of contentious debates and controversies surrounding issues of censorship, morality, and government funding for the arts. Conservative politicians and cultural critics, often aligned with religious or moralistic agendas, targeted certain artworks and artists they deemed offensive, provocative, or subversive, leading to public outrage and calls for censorship. These debates raised questions about the role of government in regulating artistic expression, the boundaries of free speech, and the relationship between art and society.

Dematerialization

The reduction of total material and energy throughput of any product and service.

How do Weiner's statements reflect the dematerialization of the work of art?

Weiner's statements reflect the dematerialization of the work of art by emphasizing language and ideas over physical objects. By presenting his artworks as textual statements rather than tangible artifacts, Weiner challenges traditional notions of art as a physical, material object. This shift towards immateriality encourages viewers to engage with art in a more conceptual and abstract manner, highlighting the primacy of ideas and communication in the artistic process.

What statements about identity are conveyed by Yinka Shonibare's artwork Three Graces, and what elements of the work contribute to these statements?

Yinka Shonibare's artwork "Three Graces" conveys statements about cultural identity, colonialism, and the fluidity of identity. By depicting three headless mannequins dressed in Victorian-style clothing made from African fabric, Shonibare challenges conventional notions of identity and belonging, highlighting the complexities of cultural hybridity and postcolonial identity. The juxtaposition of Western attire with African textiles serves as a commentary on the intertwined histories of colonialism, globalization, and the construction of identity.

Tracey Emin, My Bed

Young British Artist 1998 Mattress, linens, pillows, rope, etc An implied narrative about the artists Ivitied to consier the permeability of line between art and life She Talks about this work tells a story on how she was going through a difficult time in her life and she woke up in her bed and looked at what was around and thought theres something here. Telling sotires that is autobiographical Extending to broader in temps for creating a space for reflection Where the artist british Tracey made an installation that included all sorts of materials that identify with her life titling my bed

site-specific

any work made for a certain place, which cannot be separated or exhibited apart from its intended environment

transvaluation

evaluation by a new principle which rejects conventional standards

cultural relativism

the practice of judging a culture by its own standards

Art Appropriation

the use of pre-existing objects or images with little or no transformation applied to them