SOA SLIDE LIST

33-23 Judy Chicago, The Dinner Party, 1974-1979, mixed media. FEMINIST ART

-Installation, forcing people to confront feminist art and the notion that it is a form of contemporary art to broaden the base of art. Expanding the subject matter of art. -Multimedia- mixed media. -Table set for 39 famous women from history- idea of the domestic ritual of serving food. -Plates are the "Containment" of women- symbolism. -Triangle- sign of femininity -Judy Chicago - born 1939, UCLA. Teaches in a feminist art program -This piece was very controversial at first. -Judy Chicago was credited for this work, but it was actually collaborative- made by many men and women. -Hallway leads into the dinner party- textiles. -Reference to the Last Supper painting- noted for the absence of -women, undoubtedly there- serving the food. -Installation with many different elements. Entrance, dinner party, timeline, acknowledgement. -Vulvic imagery used for the plates—reclamation of sexual imagery and placing positive and creative connotations into the image, textile arts for place setting—artistic practice deemed feminine for centuries. Setting convey character.

33-47 Chris Ofili, The Holy Virgin Mary, 1996, mixed media. CULTURE WARS

-Paint, dung, and magazines -Work of a black Madonna, image of the Virgin Mary. -Elephant dung/magazine images of female genitalia = fertility symbols -Caused controversy, vandalism. -Nigerian born Ofili was raised a devout Catholic. -Not entirely irreverent. He wants to be controversial but not necessarily disrespectful. -"Controversy allows art to address a broader audience" -Shown at Sensation - a 1997 show organized by Royal Academy for YBAs (Young British Artists) - Ofili was a YBA

33-39 Faith Ringgold, Tar Beach (Part 1 from the Women on a Bridge Series) 1988, FEMNIST ART

-Received a lot of criticism from black artists for painting pictures of art. She was one of few black women artists during the feminist art movement. Received sexism from the black art movement. -PAINTED QUILT -Invoking a traditional craft method of working- craft was assigned to women traditionally. -Collaborations on quotes with her mother- a fashion designer in Harlem. -Idealism of youth in the city -Series of story quotes. Moments from the history of women in america- especially African American women. •Quilting in the border relates to African-American history, generally and her own specific family history. •Imaginary journey of Cassie flying over the city. •Quilts less overtly political than previous work.

33-36 Cindy Sherman, Untitled Film Still #21, 1978, black-and-white photograph. FEMNIST ART

-Still active, born in 1954. -Drawn to television imagery of women. Idea that identity lies in appearance, not reality. -Worked with film -Women are usually displayed on two levels in film: as an errotic character for the characters in the show, and for the viewers. -She puts herself in costume and places -Photos based on old movies, placing herself as the female subject- female types. -Tried to reclaim something seen as negative, to claim a provocative statement in the power of the reclamation. - not a real film still, but a photograph meant to emulate that - in relation to reality, the construction of these types becomes seen in its artificiality -Photograph -Self-portrait- revealing nothing about Cindy Sherman. -Exposes the fictions at play in types- various roles for women on camera and the stereotypes that created them off-camera. -Young career women in the big city. Expression shows worry, disgust? At something outside the frame. -Sherman reclaims the gaze constructing women as objects by working through it.

33-26 Robert Smithson, Spiral Jetty, 1969-1970, mud, precipitated salt crystals, rocks, and water, red water algae EARTHWORKS

-rock road that becomes submerged -Monumental spiral -Spiral has connotations of natural beauty -Utah's salt lake -Industrial construction equipment -Designs the work in response to the location -General theme of the spiral -Wasn't entirely pre-planned -Large statement against galleries because he thinks galleries neutralize art -Earthwork, site-specific

32-6 Pablo Picasso, Demoiselles d 'Avignon, 1907, oil on canvas. EARLY 20TH CENTURY

EARLY 20TH CENTURY -5 young lady prostitutes (2-sexy; 1-Egyptian like; 2-African masks) •Delibrate disoreintating view •Flatness; angularity •Reaction to Chief rival Matis •Believed African art is the most beautiful art •Very controversial piece •Shows community among women •Loaned to Paris •Seen as a turning point in modernism. •Many studies and various compositions. •Brothel scene—pop subject of 19thc. •Multiple viewpoints; bodies in various cubist states. •Incorporating African masks in Right •Figures—Picasso admires the simplicity of these items.

32-65 Aaron Douglas, Aspects of Negro Life: From Slavery through Reconstruction, 1934, oil on canvas. HARLEM RENAISSANCE

• Mural • Multiple scenes in one painting -Emancipation proclamation -Exercise right to vote -Union army leaving & being replaced by KKK -Some slaves are still seen picking cotton -Multiple scenes of the South • Public Works of Art Project • For the Harlem Branch of New York Library • Cubism combines with elements of social realism to create a unique style. • Narrative from Africa to the Northern industrial United States.

33-12 Andy Warhol, Marilyn Diptych, 1962 POPISM

•Andy Warhol chooses accessible images •Interested in repetition and reproduction- mechanized process. •Persona vs. the real self- public masks. •Fame is a concept Andy Warhol is interested in. •Factory process, removes the hand of the artist. Challenges the notion of originality in a work of art. Commenting on America's obsession with pop culture and celebrities. Religious format, usually for devotional paintings, repeated icon to Marilyn monroe, •Appropriated image silkscreened by Warhol. •Marilyn Monroe/Norma Jean Baker recently deceased. •Celebrity vs reality—garish color vs faded black and white images. •Diptych recalls altarpieces, religious paintings- worship of celebrity and fame.

32-14 Käthe Kollwitz, The Outbreak, From Peasants War series, 1903, etching. EXPRESSIONISM

•Black Anna- figure from 16th century peasants uprising- analogous to struggles of laborers in the Early 20th century. •Expressionist style with social message. •Part of a rebirth of the arts of printmaking encouraged by Expressionists. •Using canvas in the etching to give greater texture. •Käthe Kollwitz moves beyond Expressionist formal concerns and creates an art that is a social critique.

32-81 Jackson Pollock, Autumn Rhythm (Number 30), 1950, oil on canvas. ABSTRACT EXPRESSIONISM (THE NEW YORK SCHOOL)

•Drip painting- action painting •Produced using house paints •Action painting allowed Pollock to have a physical release of emotion on the canvas. •Worked on the floor. •Worked in a holistic manner •Greenberg views as apex of modernism.

32-43 Frank Lloyd Wright, Fallingwater, Mill Run Pennsylvania, 1937.

•Early 20th century architecture. -Picture within nature •Set on waterfall •Interior/Exterior •Elaborate commission for the house •Movement of total design •Large outdoor space more than inside; little indoor space; small closet space; the Koffman are nudist •Interior: mocked Japanese and Mayan style •Beyond the picturesque setting within nature, this building is in/on nature through its incorporation of waterfall. •Cantilevered concrete.` •Modern meets with natural elements. •Designed whole setting—inside and out. •For the Kaufmann family—Wealthy industrialists from Pittsburgh. •Planes from Wright's Prairie style broken free.

32-87 Helen Frankenthaler, Mountains and Sea, 1952, oil and charcoal on canvas. ABSTRACT EXPRESSSIONISM

•Female abstract expressionist—second wave. •Raw canvas stained with paint. •Relationship of canvas and paint explored.

33-3 Robert Rauschenberg, Canyon, 1959, mixed media. REACTIONS TO MODRERNISM

•Figure of an eagle, bag at the bottom •Various newspaper clippings •works of popular culture •found photographs •Assemblages purposely opposed to modernist painting •Sort of like a parody •Composed purposefully of un-artistic materials •Layered with meaning in a way that previous modern painting was not •Taken from everyday life •Assemblage and combine •Moves beyond frame figuratively and literally •Read into the objects used in assemblage—previous meaning incorporated with new meanings established for piece.

29-24 El Anatasui, Flag for New World Power, 2004 Ghana, aluminum and found copper. ARTS OF AFRICA IN MODERN ERA

•Found materials that some may see as garbage, and weaving them together •Not a fixed form, can be manipulated. •Very large size •Found labels and bottle caps •Reassembled and reworked with each installation—nomadic aesthetic, non-fixed form. •Made from materials regarded as refuse—bottle caps and labels. •Use of liquor labels connotes the role of alcohol in slave trade. •Metal weaving, referencing kente cloth.

33-16 Donald Judd, Untitled, 1969, galvanized iron and plexiglass.

•Minimalism shares attributes with conceptual art •Art should be pre-conceived •Wall relief •Vertical stack •Monumental, clear, austere •Machine made •Seen as a way of making art essential by taking away emotionalism and artistic subjectivity •Manufactured object

32-88 Mark Rothko, Lavender and Mulberry, 1959, oil on paper mounted on fiberboard. COLOR FIELD, ABSTRACTION & MINIMALISM

•Pure emotion •Have to stare at the work of art for awhile •Has a calming effect •Meant to be viewed for a long period—meditative, zen. •Color as emotion. Reverberates through the expanses of color. •Second phase of abstract expressionism. •Abstract and minimal.

32-57 Salvador Dali, Birth of Liquid Desires, 1931-1932, oil and collage on canvas. SURREALISM

•Salvador Dali-Spanish Artist, second wave of surrealism. Paranoiac critical method. •Second wave- Paranoiac Critical Method. •Morphing forms, double forms, erotic, subconscious dream world. Sigmund Freud

32-30 Marcel Duchamp, Fountain, 1917, porcelain plumbing fixture, enamel paint DADA PERIOD

•Second version, first destroyed •Rejected for exhibition by Society of Independents in Paris •Elevating art above the purely visual—foreshadowing conceptual art—art in the manner of thinking rather than a practice. •Revolutionize notion of beauty •Example of "Ready made" art. A name given by Marcel Duchamp to a type of work consisting of a mass-produced article selected at random and displayed as a work of art.

33-19 Joesph Kosuth, One and Three Chairs, 1965, mixed media. CONCEPTUAL ART

•Work is part of a series •Progression to trace the ideal description and then to the actual chair •Platonic ideals •Definition of a chair, image of a chair, and the actual chair Much of the work reveals the way that meaning is created and formed through our reality, ideals and definitions •Thought, language, and visuals all at 'work' •This work explores representation—what is a chair. •Physical object, image, definition—which best conveys chairness—actual chair, ideal chair, description of chair. •Relates to semiotics: The study of signs and their meaning and use.

29-6 Five Masks in Performance, Burkina Faso, Bwa Culture, 1984. Wood, mineral pigments, fiber ARTS OF AFRICA IN MODERN ERA

•masquerading was a way to access the spiritual world, to communicate. •Not a static object—performed. •Bwa adopt this particular masking procedure from another territory to deal with the threat of slave (hunters). •Elements and patterns all convey symbols. •Taught to new initiates. •Masking mainly a masculine practice.