Intro to the Modern Arts part 2

lightning field

walter de maria, 1977, land art The Lightning Field is a land art work in Catron County, New Mexico, by sculptor Walter De Maria. It consists of 400 stainless steel poles with solid, pointed tips, arranged in a rectangular 1 mile × 1 kilometre grid array

earth room

walter de maria, 1978, land art an interior earth sculpture by Walter De Maria. Created in 1977, the work spans over 3,600 square feet of floor space and consists of 250 cubic yards of earth, measuring 22 inches deep

cut one piece

yoko ono 1964

sherrie levine

After Walker Evans: 4 Levine photographed reproductions of Depression-era photographs by Walker Evans, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper. The series, entitled After Walker Evans, became a landmark of postmodernism, both praised and attacked as a feminist hijacking of patriarchal authority, a critique of the commodification of art, and an elegy on the death of modernism.

Leaf

Agnes Martin, 1965, expanded field sculpture Agnes Martin's now familiar paintings of pencil grids and subtle bands of color are the culmination of a personal search for artistic identity that led her from traditional still lifes and portraits to landscape paintings of the New Mexican desert through variations on Abstract Expressionism

Marilyn Diptych

Andy Warhol,1962, Neo Dada & Pop Art The work was completed during the weeks after Marilyn Monroe's death in August 1962. It contains fifty images of the actress, which are all based on a single publicity photograph from the film Niagara (1953). The twenty-five pictures on the left side of the diptych are brightly colored, while the twenty-five on the right are in black and white. It has been suggested that the relation between the left side of the canvas and the right side of the canvas is evocative of the relation between the celebrity's life and death

water towers

Bernd and Hilla Becher, 1980, expanded field sculpture Starting in 1957 the Bechers traveled throughout Europe and North America taking black-and-white photographs of industrial architecture: water towers, coal silos, blast furnaces, lime kilns, grain elevators, preparation plants, pithead gears, oil refineries, and the like. They organized their photographs into series based exclusively on functional typologies and arranged them into grids or rows. This served both to invoke and reinforce the sculptural properties of the architecture—they called the subjects of their photographs "anonymous sculptures"—the forms of which are primarily determined by function.

roses for stalin

Boris Eremeervich Vladimirski, 1949, Depression and War It depicts a group of children giving Joseph Stalin a bushel of roses and showing their love for him.illustrates social realism. soviet realism delivers positive images about the USSR and its leaders.

Lúcio Costa

Brasilia, 1955, Industrial Modernism plan for the new capital of Brasília, located in Brazil's hinterland, having won the job in a 1957 public competition. His Plano Piloto (Pilot Plan) for Brasília is in the shape of an irregular cross, suggesting an airplane or dragonfly Costa was responsible for the layout, Niemeyer responsible for many of the landmark buildings; there were later disputes between the two, as an article in the landmarking decree specifically exempted works from both of them from review by the Heritage Service. Nevertheless, Brasília is also famous for Costa's "utopian" project; although not fully accomplished, it has produced a city of considerable quality of life in which the citizens live in wooded areas with sporting and leisure structure (the "superquadras") flanked by small commercial areas, bookstores and cafés; the city is famous for its relative efficiency of traffic.

carolee schneemann

Created meat joy and interior scroll

JEWISH MUSEUM BERLIN

Daniel Libeskind's design, which was created a year before the Berlin Wall came down, was based on three insights: it is impossible to understand the history of Berlin without understanding the enormous contributions made by its Jewish citizens; the meaning of the Holocaust must be integrated into the consciousness and memory of the city of Berlin; and, finally, for its future, the City of Berlin and the country of Germany must acknowledge the erasure of Jewish life in its history.

Old Couple

Duane Hudson. hyper-realistic sculptures portraying everyday Americans. Using materials such as polyester resin, autobody filler, and bronze, he cast figures from live models in his studio, paying attention to every detail, from body hair to veins and assembling the figures with clothing and accessories.

Parade Amoureuse

Francis Picabia ,1917, Dada and Surrealism mechanomorphic pictures suggest analogies between machines and the human form To contemporary viewers they were scandalous in their rejection of the idea of the human soul and their emphasis instead on instincts and compulsions - both often erotic Picabia blended male and female; the upper part in red might be considered female and the lower part in blue, male. The viewer can imagine the sound of hammering and the idea of a "sonorous sculpture," or a musical instrument

Splitting

Gordon Matta-Clark, 1974, land art developed a personal idiom that combined Minimalism and Surrealism with urban architecture Using abandoned buildings for his medium and wielding a chainsaw as his instrument, he cut into the structures, creating unexpected apertures and incisions.

Cut with a kitchen knife dada

Hannah Hoch, 1919-1920, Dada and Surrealism prominent female artist within the Dada movement in Germany after WW1 reflected her views of the political and social issues that arose during this transitional time in German society. The long drawn out war that had focused the countries attention for so long was lost and Germany was left in a state of political chaos There was a clash between the old Weimar government and the uprising of a new left-wing communist party called the Spartasists Hoch's title for this piece illustrates her critique of the "bloated and heavy handed" nature of the male dominated Weimer republic and German military

Performance at Cabaret Voltaire

Hugo Ball, 1916, Dada and Surrealism young Romanian artist called Marcel Janco produced a painting depicting an evening in a Zurich nightclub known through a photographic reproduction on a postcard, the picture presents a riotous scene in the fractured style of early Cubism A group of performers, centre-stage, make strange, unnaturally angular shapes with their bodies. They seem to be responding to the music of a nearby pianist, who tips back his chair, while remaining hunched over his keyboard

F-111

James Rosenquist, 1965, Neo Dada & Pop Art James Rosenquist began to paint the 86-foot-long F-111 in 1964, in the middle of one of this country's most turbulent decades. Inspired by advertising billboards and by earlier mural-scaled paintings, such as Claude Monet's Water Lilies, he designed its 23 panels to wrap around the four walls of the Leo Castelli Gallery at 4 East 77th Street in Manhattan, where it would be displayed the following year. Rosenquist took as his subject the F-111 fighter bomber plane, the newest, most technologically advanced weapon in development at the time, and positioned it, as he later explained, "flying through the flak of consumer society to question the collusion between the Vietnam death machine, consumerism, the media, and advertising."

The Harlequin's Carnival

Joan Miro, 1925, Dada and Surrealism This specific painting is centered on a harlequin at a carnival. Although the harlequin resembles a guitar, he still retains some of his harlequin characteristics such as a checkered costume, a mustache, an admiral's hat, and a pipe. The harlequin in this painting is sad, which could be due to the hole in his stomach. This detail may refer to Miró's personal life experiences, because at this point in his life he did not have much money for food and was on the brink of starvation. This is a painting of a celebration; all the characters seem to be happy due to the fact they are playing, singing, and dancing. Some of the objects in the painting are anthropomorphized, and some seem to be moving and dancing as well

I Like America and America Likes Me or "coyote"

Joseph Beuys, 1965, conceptual & performance Beuys spent three days in a room with a wild coyote for his performance, I Like America and America Likes Me

How to Explain Pictures to a Dead Hare

Joseph Beuys, 1965, conceptual & performance With his head entirely coated in honey and gold leaf, he began to explain pictures to a dead hare. Whispering to the dead animal on his arm in an apparent dialog, he processed through the exhibit from artwork to artwork. Occasionally he would stop and return to the center of the gallery, where he stepped over a dead fir tree that lay on the floor.

Merzbau, Hannover

Kurt Schnitters, 1931, Dada and Surrealism altered the interiors of a number of spaces throughout his life. The most famous was the Merzbau, the transformation of six (or possibly more) rooms of the family house in Hanover, Waldhauseistrasse

Notre Dame du Haut

Le Corbusier, 1955, abstract expressionism Notre Dame du Haut is commonly thought of as a more extreme design of Le Corbusier's late style. Commissioned by the Association de l'Œuvre Notre Dame du Haut, the chapel is a simple design with two entrances, a main altar, and three chapels beneath towers. Although the building is small, it is powerful and complex. The chapel is the latest of chapels at the site. The previous chapel was completely destroyed there during World War II. The previous building was a 4th-century Christian chapel. At the time the new building was being constructed, Corbusier was not exactly interested in "Machine Age" architecture but he felt his style was more primitive and sculptural.

Cincinnati, Ohio

Lee Friedlander, 1963, expanded field sculpture At once a miniature and a panorama, this layered image displays the miscellany of a shop window, a reflection of a city scene and—if one looks carefully— the photographer himself. This sort of implied portrait, signifying at once Friedlander's presence in and somewhat self-imposed removal from the world around him, became the artist's trademark, a clever, playful symbol of his struggle to fit into a society undergoing rapid transformation.

Rayograph

Man Ray, 1923, Dada and Surrealism without a camera by placing objects-such as the thumbtacks, coil of wire, and other circular forms used here-directly on a sheet of photosensitized paper and exposing it to light Man Ray had photographed everyday objects before, but these unique, visionary images immediately put the photographer on par with the avant-garde painters of the day Hovering between the abstract and the representational, the rayographs revealed a new way of seeing that delighted the Dadaist poets who championed his work, and that pointed the way to the dreamlike visions of the Surrealist writers and painters who followed

Bicycle Wheel

Marcel Duchamp, 1915, Dada and Surrealism this Readymade is commonly termed the first "The Bicycle Wheel is my first Readymade, so much so that at first it wasn't even called a Readymade. It still had little to do with the idea of the Readymade. Rather it had more to do with the idea of chance. In a way, it was simply letting things go by themselves and having a sort of created atmosphere in a studio, an apartment where you live. Probably, to help your ideas come out of your head. To set the wheel turning was very soothing, very comforting, a sort of opening of avenues on other things than material life of every day. I liked the idea of having a bicycle wheel in my studio. I enjoyed looking at it, just as I enjoyed looking at the flames dancing in a fireplace. It was like having a fireplace in my studio, the movement of the wheel reminded me of the movement of flames" was not intended to be a remarkable piece of art, but rather a personal experiment

bride stripped bare by her bachelors, Even

Marcel Duchamp, 1915-1923, Dada and Surrealism two panes of glass with materials such as lead foil, fuse wire, and dust The entire composition is shattered, but it rests sandwiched between two pieces of glass, set in a metal frame with a wooden base The top rectangle of glass is known as the Bride's Domain; the bottom piece is the Bachelors' Apparatus The Bride is a mechanical, almost insectile, group of monochrome shaded geometric forms located along the left-hand side of the glass. She is connected to her halo, a cloudy form stretching across the top Most critics read the piece as an exploration of male and female desire as they complicate each other. One critic, for example, describes the basic layout as follows: "The Large Glass has been called a love machine, but it is actually a machine of suffering. Its upper and lower realms are separated from each other forever by a horizon designated as the 'bride's clothes.' The bride is hanging, perhaps from a rope, in an isolated cage, or crucified. The bachelors remain below, left only with the possibility of churning, agonized masturbation.

Fountain

Marcel Duchamp, 1917, Dada and Surrealism one of Duchamp's most famous works and is widely seen as an icon of twentieth-century art The original, which is lost, consisted of a standard urinal, usually presented on its back for exhibition purposes rather than upright the work had been rejected by the Society (which were meant to accept all) on the grounds that it was immoral

Mask/Portrait of Tristan Tzara

Marco Janco, 1919, Dada and Surrealism oversize mask of Tzara made from paper, board, burlap, ink and gouache shows Tzara in ochre and purple, with a twisted, distorted face Janco used African art as a means of breaking with the European tradition and to show that art could be conjured up from even the crudest materials

buchenwald

Margaret Bourke-White, 1945, depression and war portrait of survivors at Buchenwald in April 1945—"staring out at their Allied rescuers," The faces of the men, young and old, staring from behind the wire, "barely able to believe that they would be delivered from a Nazi camp where the only deliverance had been death," attest with an awful eloquence to the depths of human depravity and, perhaps even more powerfully, to the measureless lineaments of human endurance.

Post-Partum Document

Mary Kelly, 1977, conceptual & performance Anyone who has been in the unpleasant position of changing a dirty nappy will know that normally your first instinct is to get it as far away from it as possible. So it might seem strange that American artist Mary Kelly (born 1941) took the liners of her son's used cloth nappies, printed them with details of his diet, and displayed them as artworks

Object: For Breakfast

Meret Oppenheim, 1936, Dada and Surrealism inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar at a Paris cafe. Admiring Oppenheim's fur-covered bracelet, Picasso remarked that one could cover anything with fur, to which she replied, "Even this cup and saucer." Soon after, when asked by André Breton, Surrealism's leader, to participate in the first Surrealist exhibition dedicated to objects, Oppenheim bought a teacup, saucer, and spoon at a department store and covered them with the fur of a Chinese gazelle. In so doing, she transformed genteel items traditionally associated with feminine decorum into sensuous, sexually punning tableware.

LOCOMOTIVES

RAYMOND LOEWY, 1937, Industrial Modernism collaboration between Raymond Loewy and the Pennsylvania Railroad (PRR) 1934, the company built a locomotive that would become the touchstone for locomotives worldwide - the GG1, a two-way electric traction unit, that was to become a model followed by many other locomotives still in use today. Contrary to popular belief, the GG1 was not designed by Loewy. His contribution came later on, when he suggested the use of a smooth, welded construction instead of riveted assembly, in order to streamline its shape and construction.

The Spirit of our time

Raoul Hausmann, 1919, Dada and Surrealism Hausmann said that the average German "has no more capabilities than those which chance has glued on the outside of his skull; his brain remains empty". Hausmann's sculpture might be seen as an aggressively Marxist reversal of Hegel: this is a head whose "thoughts" are materially determined by objects literally fixed to it. Hausmann turns inside out the notion of the head as seat of reason, an assumption that lies behind the European fascination with the portrait. He reveals a head that is penetrated and governed by brute external forces.

The Treachery of Images

Rene Magritte, 1928, Dada and Surrealism French for "This is not a pipe." His statement is taken to mean that the painting itself is not a pipe; it is merely an image of a pipe. Hence, the description, "this is not a pipe." The theme of pipes with the text "Ceci n'est pas une pipe" is extended in his 1966 painting

The Human Condition

Rene Magritte, 1933, Dada and Surrealism Two of Magritte's favored themes were the "window painting" and the "painting within a painting." The Human Condition is one of Magritte's earliest treatments of either subject, and in it he combines the two, making what may be his most subtle and profound statement of their shared meaning. displays an easel placed inside a room and in front of a window. The easel holds an unframed painting of a landscape that seems in every detail contiguous with the landscape seen outside the window. At first, one automatically assumes that the painting on the easel depicts the portion of the landscape outside the window that it hides from view. After a moment's consideration, however, one realizes that this assumption is based upon a false premise: that is, that the imagery of Magritte's painting is real, while the painting on the easel is a representation of that reality. In fact, there is no difference between them. Both are part of the same painting, the same artistic fabrication.

The Americans

Robert Frank, 1959, Neo Dada & Pop Art nfluential book in post-war American photography. It was first published in France in 1958, and the following year in the United States. The photographs were notable for their distanced view of both high and low strata of American society. The book as a whole created a complicated portrait of the period that was viewed as skeptical of contemporary values and evocative of ubiquitous loneliness.

Bed

Robert Rauschenberg, 1955, Neo Dada & Pop Art Bed is one of Rauschenberg's first "combines," the artist's term for his technique of attaching found objects, such as tires or old furniture, to a traditional canvas support. In this work, he took a well-worn pillow, sheet, and quilt, scribbled on them with pencil, and splashed them with paint in a style similar to that of Abstract Expressionist "drip" painter Jackson Pollock. Legend has it that these are Rauschenberg's own pillow and blanket, which he used when he could not afford to buy a new canvas. Hung on the wall like a traditional painting, his bed, still made, becomes a sort of intimate self-portrait consistent with Rauschenberg's assertion that "painting relates to both art and life...[and] I try to act in that gap between the two."

Canyon

Robert Rauschenberg, 1959, Neo Dada & Pop Art incorporated elements of sculpture into canvas-based pieces. Canyon features a taxidermied eagle, a pillow, and other elements

Non-site

Robert Smithson,1969, land art Robert Smithson began exploring the industrial areas around New Jersey and, after assisting to dumper trucks excavating tons of earth and rocks, he described them as the equivalent of the monuments of antiquity. The series of "Non-Sites" resulted from the installation in the gallery of gravel, rocks, salt materials collected from specific mines, excavations or quarries, usually contained in boxes of galvanized steel or situated within mirrors formations. Whereas a "Site" is scattered information, a place you can visit, experience, travel-to, a "Non Site" is a container, an abstract work about contained information.

Spiral Jetty

Robert Smithson,1970, land art Using over six thousand tons of black basalt rocks and earth from the site, Smithson formed a coil 1,500 feet long and 15 feet wide that winds counterclockwise off the shore into the water.

Little Big Painting

Roy Lichtenstein, 1946, Neo Dada & Pop Art Little Big Painting is quite attentive to the "physical qualities of the brushstroke" relative to other Brushstrokes series works. It is an example of the use of overlapping forms rather than a single form or distinct adjacent forms, which seems to create a more dynamic feel to the shallow space.[5] However, since Lichtenstein does not uses shading or contrast, the monochromatic strokes with just bold black outlines are void of certain elements of depth

Drowning Girl

Roy Lichtenstein, 1963, Neo Dada & Pop Art appropriated comic book imagery in many of his early paintings. The source for this work is "Run for Love!," the melodramatic lead story in DC Comics' Secret Love #83, from 1962. In the original illustration (shown below), the drowning girl's boyfriend appears in the background, clinging to a capsized boat. Lichtenstein cropped the image dramatically, showing the girl alone, encircled by a threatening wave. He shortened the caption from "I don't care if I have a cramp!" to the ambiguous "I don't care!" and changed the boyfriend's name she calls out from Mal to Brad. Working by hand, Lichtenstein painstakingly imitated the mechanized process of commercial printing. First he transferred a sketch onto a canvas with the help of a projector. He then drew in black outlines and filled them with primary colors or with circles, simulating the Ben-day dots used in the mechanical reproduction of images

Accommodations of Desire

Salvador Dali, 1929, Dada and Surrealism a small gem that deals with Dalí's sexual anxieties over a love affair with an older, married woman. The woman, Gala, then the wife of the Surrealist poet Paul Éluard, became Dalí's life-long muse and mate. In this picture, which Dalí painted after taking a walk alone with Gala, he included seven enlarged pebbles on which he envisioned what lay ahead for him: "terrorizing" lions' heads (not so "accommodating" to his "desires" as the title of the painting facetiously suggests), as well as a toupee and a colony of ants (a symbol of decay). Also depicted are various vessels (one in the shape of a woman's head) and three figures embracing on a platform. Dalí did not paint the lion heads but, rather, cut them out from what must have been an illustrated children's book, slyly matching the latter's detailed style with his own

The persistence of Memory

Salvador Dali, 1931, Dada and Surrealism the image of the soft melting pocket watch. It epitomizes Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. The soft watches are an unconscious symbol of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order One can observe that the creature has one closed eye with several eyelashes, suggesting that the creature is also in a dream state. The iconography may refer to a dream that Dalí himself had experienced, and the clocks may symbolize the passing of time as one experiences it in sleep or the persistence of time in the eyes of the dreamer.

vagina painting

Shigeko Kubota

Worker and Kolkhoz Woman (Collective man and women)

Vera Mukhina, 1937, Depression and War is a sculpture of two figures with a sickle and a hammer raised over their heads sculpture is an example of the socialist realistic style, as well as Art Deco style

anthropométrie blue period

Yves Klein, 1960, conceptual & performance smeared nude women with blue pigment and used them as human brushes on canvas, sometimes in elaborate public performances.

silhouette

ana mendieta, 1974, land art photographed her silhouettes created from the earth over time, documenting their ephemerality and presence via absence. She made a wealth of short films following the same concepts, however also showing the ritual processes of working and becoming part of the eart

onement

barnett newman, 1949, abstract expressionism Newman proclaimed Onement, I to be his artistic breakthrough, giving the work an importance belied by its modest size. This is the first time the artist used a vertical band to define the spatial structure of his work. This band, later dubbed a "zip," became Newman's signature mark. The artist applied the light cadmium red zip atop a strip of masking tape with a palette knife. This thick, irregular band on the smooth field of Indian Red simultaneously divides and unites the composition.

Vir Heroicus Sublimis

barnett newman, 1951, abstract expressionism The Latin title of this painting can be translated as "Man, heroic and sublime." It refers to Newman's essay "The Sublime is Now," in which he asks, "If we are living in a time without a legend that can be called sublime, how can we be creating sublime art?" His response is embodied in part by this painting—his largest ever at that time.

equivalent 6

carl andre, 1966, expanded field sculpture Each of Andre's Equivalent series consists of a rectangular arrangement of 120 firebricks. Although the shape of each sculpture is different, they all have the same height, mass and volume, and are therefore 'equivalent' to each other.

running fence

christo, 1976, land art builders removed it 14 days later, leaving no visible trace It consisted of a veiled fence 24.5 miles (39.4 km) long extending across the hills of Sonoma and Marin counties in northern California, United States. The 18-foot (5.5 m) high fence was composed of 2,050 panels of white nylon fabric hung from steel cables by means of 350,000 hooks. The cables were supported by 2,050 steel poles stuck into the ground and braced by steel guide wires anchored to the earth

Floor Cake

claes oldenburg, 1962, Neo Dada & Pop Art fabric sculpture sewn together fabric filled w foam painted ironic because it looks gross when you get close

migrant mother

dorothea lange, 1936, depression and war of Florence Owens Thompson and her children in February or March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration. In 1960, Lange gave this account of the experience: I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it. (From: Popular Photography, Feb. 1960).

One Nation Indivisible

dorothea lange, 1942, depression and war Clutching her lunchbag, this schoolgirl places her right hand on her heart to recite the Pledge of Allegiance. Dorothea Lange made this photograph at the Raphael Weill School in San Francisco's Japantown. A few weeks after Lange captured this image, the U.S. government relocated this innocent girl, and thousands of other Japanese Americans, to desolate areas east of the Sierra Nevada Mountains. The attack on Pearl Harbor, which marked the beginning of direct American involvement in World War II, triggered the rise of assaults on the Japanese in America. Lange's photograph speaks to a shameful part of America's history, when all persons of Japanese descent were forced into internment camps because of their supposed risk to national security. President Franklin D. Roosevelt authorized these detentions as protection against espionage and sabotage.

dulles airport

eero saarinen, 1962, abstract expressionism . Known for his innovative, sculptural forms used throughout both architecture and furniture designs create an articulated entrance to stand out against the modern and repetitive structure. He also had the typical challenge of providing graceful access to the building, encountered by automobile, entered and further accessed by foot Air travel was exploding as a modern and glamorous form of transportation

hang up

eva hesse, 1967, expanded field sculpture influential body of work that responded to the reductive formalism of Minimalist sculpture through an exploration of the expressive possibilities of abstraction she considered the sculpture Hang Up to be her first significant work of art An ironic commentary on painting, Hang Up was, according to the artist, her first piece to achieve the level of "absurdity or extreme feeling" she intended

repetition

eva hesse, 1968, expanded field sculpture composed of 19 translucent, bucket-like forms, each approximately 20 inches tall. Minimalist artists explored serial repetition of identical units, but Hesse loosened that principle. Her forms are handmade and irregular rather than manufactured and hard-edged. They are similar to one another in size and shape, but none of them are exactly alike.

house santa monica

frank gehry, 1991 home made from multiple materials built around an existing Dutch colonial style house unconventional materials chain-link fences and corrugated steel

guggenheim museum the cylindrical building, wider at the top than the bottom, was conceived as a "temple of the spirit". Its unique ramp gallery extends up from ground level in a long, continuous spiral along the outer edges of the building to end just under the ceiling skylight.

frank lloyd wright, 1959, abstract expressionism

die fahne hoch

frank stella, 1959, expanded field sculpture The use of basic geometric systems in the work is regarded by many as the precursor of Minimalism. The painting was made by marking equal subdivisions along the sides, bottom and top edges of the canvas and using these intervals to generate simple, symmetrical patterns consisting of bands of black enamel paint separated by thin lines of unpainted canvas.

mahoning

franz kline, 1956, abstract expressionism Four Square is another example of Kline's experimentation with angular compositions. Although apparently structured in its compositional rigidness, Four Square is a fine example of his gestural approach to painting. The viewer is led to ponder the canvas, seeing as either a close-up of a linguistic symbol or, perhaps, a set of open windows.

lavender mist

jackson pollock, 1950, abstract expressionism (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous, watery light were a source of inspiration for him. Pollock's method was based on his earlier experiments with dripping and splattering paint on ceramic, glass, and canvas on an easel. Now, he laid a large canvas on the floor of his studio barn, nearly covering the space. Using house paint, he dripped, poured, and flung pigment from loaded brushes and sticks while walking around it

target

jasper johns, 1950, Neo Dada & Pop Art print maker also made flag and beer can!!!! Each of these Target paintings by Johns features a depiction of an actual target that is, for all practical purposes, utterly interchangeable with the real thing. Yet unlike the flag or the number, which are also familiar images from this period of the artist's career, the flat target is simultaneously representational and abstract (a number or a flag can never be divorced from its status as a familiar sign). This makes the target susceptible to other ambiguities.

heel

john baldessari

one and three chairs

joseph kosuth, 1965, conceptual & performance In One and Three Chairs, Joseph Kosuth represents one chair three ways: as a manufactured chair, as a photograph, and as a copy of a dictionary entry for the word "chair." The installation is thus composed of an object, an image, and words

the seasons

lee Krasner, 1957, abstract expressionism Krasner's signature vibrant use of color, lifelong interest in the fecundity of nature, and joyous sensibility were among her key contributions to the often brooding, deeply serious post-war abstract tendencies of her peers. Via her paintings, Krasner worked through her profound anguish and anger after Jackson Pollock's death. Later, she turned to nature to create large-scale, brilliantly colored canvases that show the influence of Henri Matisse and the Fauvists, again demonstrating her connection to early-twentieth-century modernism. Inspired by the natural world, Krasner painted large, floral, and organic shapes, alive with color and pulsating with new energy.

vietnam war memorial

maya lin, 1982, land art The memorial currently consists of three separate parts: the Vietnam Veterans Memorial Wall, completed first and the best-known part of the memorial; the Three Servicemen Memorial, and the Vietnam Women's Memorial.

sun tunnels

nancy holt, 1973, land art four massive concrete tunnels, each eighteen feet long and nine feet in diameter, laid out in the desert in an open X configuration. On the solstices, the tunnels frame the sun as it passes the horizon at sunrise and sunset.

guernica

picasso, 1937, depression and war created in response to the bombing of Guernica, a Basque Country village in northern Spain, by Nazi German and Fascist Italian warplanes at the request of the Spanish Nationalists.

house, london

rachel whitehead, 1994, land art temporary public sculpture The work was a concrete cast of the inside of the entire three-story house, basement, ground floor and first floor, including stairs and bay windows, but not the roof space. After Whiteread took possession of the building in August 1993, new foundations were created to support the new concrete. Internal structures such as sinks and cupboards were removed, holes in the walls filled and the windows covered, to prepare a continuous internal surface that could be sprayed with a debonding agent

just what it is

richard hamilton, 1956, Neo Dada & Pop Art This image is among the most famous in British post-war art. It has come to define the rise of consumer society in the mid to late 1950s and is an icon of Pop art Hamilton used images cut from American magazines

centre pompidou

richard rogers, 1976, post modern

tilted arc

richard serra, 1981, land art site-specific sculpture originally commissioned by the United States General Services Administration Arts-in-Architecture program The post-minimalist artwork was designed by the well-known artist Richard Serra and constructed in 1981. However, after much debate, it was removed in 1989 following a lawsuit.

untitled leg

robert gober realistic leg replica

excavation

willem de kooning, 1950, abstract expressionism Excavation, Willem de Kooning's largest painting up to 1950, exemplifies the artist's innovative style of expressive brushwork and distinctive organization of space into loose, sliding planes with open contours. According to de Kooning, his point of departure was an image of women working in a rice field from Bitter Rice, a 1949 Italian Neorealist film. The mobile structure of hooked, calligraphic lines defines anatomical parts—bird and fish shapes, human noses, eyes, teeth, necks, and jaws—revealing the particular tension between abstraction and figuration that is inherent in de Kooning's work.

Woman i

willem de kooning, 1952, abstract expressionism De Kooning took an unusually long time to create Woman I, making numerous preliminary studies and repainting the work repeatedly. The hulking, wild-eyed subject draws upon an amalgam of female archetypes, from Paleolithic fertility goddesses to contemporary pin-up girls. Her threatening stare and ferocious grin are heightened by de Kooning's aggressive brushwork and frantic paint application. Combining voluptuousness and menace, Woman I reflects the age-old cultural ambivalence between reverence for and fear of the power of the feminine.

Chain Gang

william johnson, 1939, depression and war In this painting, enormous hands hold scythes, pickaxes, and shovels, symbolizing the brutal work of the chain gang. Johnson may have seen men like this when he was a child in South Carolina, but he might also have chosen this subject while working for the Works Progress Administration, where archivists worked to preserve the stories and songs of the gangs.

Aspects of Negro Life

Aaron Douglas, 1934, depression and war Harlem's avant-garde culture of the 1920s was inseparable from Modernism, and no one else captured this powerful pairing, emblematic of the Jazz Age, with the rigor and strength of Aaron Douglas (1899-1979), a painter, muralist, and illustrator who is considered the foremost visual artist of the Harlem Renaissance. Douglas's use of African design and subject matter in his work brought him to the attention of W.E.B. Du Bois and Alain Locke, who were pressing for young African American artists to express their African heritage and African American folk culture in their art. created numerous large-scale murals that portray subjects from African American history and contemporary life in epic allegories.

farm family from kahlenberg

Adolf Wissel, 1939, Depression and War

Pruitt-Igoe

Brasilia, 1954, Industrial Modernism e urban housing project first occupied in 1954[2] in the U.S. city of St. Louis, Missouri. Living conditions in Pruitt-Igoe began to decline soon after its completion in 1956.[3] By the late 1960s, the complex had become internationally infamous for its poverty, crime, and racial segregation. Its 33 buildings were demolished with explosives in the mid-1970s,[4] and the project has become an icon of failure of urban renewal and of public-policy planning.

phonograph

Dieter Rams, 1963, Industrial Modernism mechanical recording and reproduction of sound It's an earlier technology and has more distortion than later developments. The tone arm is lifted and placed on the record using the arm that sticks out of its plastic shell. Notice how it's made of the same graphite plastic as the knobs and buttons, an indication for the user that it's something you interact with.

migration of the negro

Jacob Lawrence, 1941, depression and war chronicling the story of black life in America through his paintings. Born in New Jersey and raised from the age of thirteen in Harlem, New York City, this Northeast native had southern roots. He was the child of migrants who moved, together with millions of other African Americans, from the impoverished rural South to urban, industrialized Midwestern and Northeastern cities during the mass relocation known as the Great Migration (1915-1950s). Lawrence maintained that he was "a child of the Great Migration," which shaped the course of his own and his fellow African Americans' lives.

Contemporary City

Le Corbusier, 1922, Industrial Modernism The centerpiece of this plan was a group of sixty-story cruciform skyscrapers built on steel frames and encased in curtain walls of glass. The skyscrapers housed both offices and the flats of the most wealthy inhabitants[citation needed]. These skyscrapers were set within large, rectangular park-like green spaces. At the center of the planned city was a transportation hub which housed depots for buses and trains as well as highway intersections and at the top, an airport. Le Corbusier segregated the pedestrian circulation paths from the roadways, and glorified the use of the automobile as a means of transportation. As one moved out from the central skyscrapers, smaller multi-story zigzag blocks set in green space and set far back from the street housed the proletarian workers.

world's highest standard of living

Margaret Bourke-White, 1937, depression and war its starkly ironic juxtaposition of an idealized America alongside the grimmer aspects of everyday reality.

Two Children are Threatened by a Nightingale

Max Ernst, 1936, Dada and Surrealism A red wooden gate affixed to the painted surface opens onto a painted scene dominated by blue sky. At left, a female figure brandishes a small knife; another falls limp in a swoon; a man atop the roof carries off a third, his hand outstretched to grab a real knob fastened to the frame. The title of the work (inscribed at the base), was inspired by a fever dream the young Max Ernst experienced while in bed with measles. As Ernst recalled in third-person, the dream was "provoked by an imitation-mahogany panel opposite his bed, the grooves of the wood taking successively the aspect of an eye, a nose, a bird's head, a menacing nightingale, a spinning top, and so on." A poem Ernst penned shortly before making this work begins, "At nightfall, at the outskirts of the village, two children are threatened by a nightingale."

L Beams

Robert Morris, 1965, expanded field sculpture Unfortunately, any photograph of Robert Morris's Untitled (L-Beams) is going to miss the point if we want to understand the object both in an artistic and material sense. Morris wanted to expose the conditions of perception and display and the fact that these conditions always affect the way we comprehend the art object—sculpture always exists somewhere in relationship to someone at sometime.

Erased de Kooning Drawing

Robert Rauschenberg, 1953, Neo Dada & Pop Art A simple composition comprising a single sheet of smudged paper, a thin gold frame with a plain window mat, and a machine-precise inscription, Robert Rauschenberg's Erased de Kooning Drawing blankly addresses the viewer. At first inspection, its meaning and import are utterly opaque, impossible even to speculate upon.

BLINDFOLDED CATCHING

Vito Acconci

leap into the void

Yves Klein, 1960, conceptual & performance put on a suit and jumped off a roof. It was a leap of faith, a soaring vault out of suburbia, hurtling the young artist into a metaphysical realm he termed the void. Photographically documented, his feat was displayed on newsstands throughout Paris, rattling everyone who encountered it. Yet for all his audacity, Klein wasn't crazy. The picture was a photomontage, combining an image of him jumping into a net with a view of the empty street.

shot

chris burden

young brooklyn family

diane arbus, 1966, expanded field sculpture raise a multitude of questions, in particularly she comments on this image of a young Brooklyn family and how fictions are always made on photographs. She goes on to depict the image, giving her own in depth questions revolving around the family and a detailed description of the family in terms of their expression shown through the image which is summed up well by Diane Arbus herself "They were undeniably close in a painful sort of way". everyone looking at different places. mom looks fancy son looks disabled

master bedroom

eric fischl contemporary realism

horton plaza

san diego