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| Jeff Koons, Play-Doh, 1994-2014, large, made of aluminum and interlocking various pieces- accesible to everyone bc we all know play doh- emphasis on bright, manufactured colors- size makes the trivial seem epic- emphasizing your experience and playing w your expectations of materials and culture |
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| Jeff Koons, Orange Balloon Dog, 1994-2000- 10 ft by 12, large sculpture w stainless steel w reflective color to mimic balloon, 58.4 mil- most expensive artwork by a living artist- gesturing to factory-made, impersonal, mass produced items- lack of artist's own hand, modern trojan horse? promises one thing and contains another- interrogating what art is? playful and trying to create conflict- puts on H&M bag to connect viewer w art- POPART= on lady gaga's album cover |
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| Kehinde Wiley, Napoleon Leading the Army Over the Alps, 2005, commenting on afflunece- paintings are big to elevate status of AA- puts it in contrast w western art- commenting on how portraits are used for social mobility- elevated status- color: use of rich red gives weight, line: exact so you can't see artist's hand, lighting: focus on face and body- powerful affirmation of black identity- interested in how history and art talk- intertextuality- referencing Jacques-Louis David's Napoleon Crossing the Alps- Wiley puts burden on viewer to know the reference- questioning the canon |
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| Kehinde Wiley, Ice-T, 2005, big painting made for art shows- referencing "Napoleon on his Imperial Throne"- contemporary dress in a famous old painting from 1800s, represents Ice-T as a powerful figure, rich colors, celebrity construction- portraiture is a symbol of wealth and power |
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| Kara Walker, Gator Bait, 1996- silhouette was popular in 1700s as a woman's art form for upper class- considered sentimental art form- so she is getting at that- also this painting references practice of using AA as bait for alligators- she deals w grotesque, uncomfortable history- black and white contrast and your shadow allows you to show up in the work |
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| Kara Walker, A Subtlety (or the Marvelous Sugar Baby), 2014- 75 feet! references enslaved cane field Caribbean ppl- sphinx out of black female body- emphasizes all the attributes we associate w black women, tackles stereotypes- how body is used- sphinx replaced w aunt gemima head- placed in a sugar refining factory in brooklyn- made of sugar which is white but you can tell figure is black through features- surrounded by dark servant children w candy- big figure is intimidating, not sweet-installation art that is temporal- she lets it melt away by rain- all about the experience- immediate, accelerated, temporary |
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| Anila Quayyum Agha, Intersections, 2014- transformed the way we understand the gallery space- cube of black lacquered wood- light in center- relies on shadows to create depth- extreme detail based off architecture of alahambra in spain- reference to islamic spaces- infinite amount of decoration- totally about the experience |
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| Yinka Shonibare, Leisure Lady (with Oeclots), 2001- he relies on fashion (art or pop culture?)- looking at 1800s Victorian period where British empire= powerful- life size mannequin- staged scene of leisure activities of the rich- holds leashes on cheetas (assosciated w africa) to domesticate them- bright colors and african patterns- commenting on money and commerce- mirroring POSTCOLONIALISM (from beg half of 1900s) bc interrogating western world power- aware of cultural overlap (appropriation, hybridity) |
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| Yinka Shonibare, Scramble for Africa, 2003- installation in post-colonial discourse- referencing 1880's African land grab where western countries parceled out africa- no heads/faces on heads of state- look sharp while they tear apart a continent- weird crossover bc wearing african clothing- you get their actions from their arms/body gestures |
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| Nam June Paik, TV Buddah, 1974- powerful bc showing that we are caught in a loop w technology- self maintained- making you think about role of technology- what does it tell us about ourselves? buddha looking at himself on TV- challenging spectator v. performer bc spectator becomes performer-very experiential art- engaging w popular technology- interrogating electronic influence in homes- what does technology define about us? buddhism colliding w technology (which has no soul) technology=disposable v. belief system=eternal- are we letting representations stand in for reality in our culture? is the buddha on the screen more real than the one watching? |
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| Nam June Paik, Electronic Superhighway, 1995- dramatized map of US filled w media/pop culture and neon- circuit boards, speakers, desk lamp, etc- took about 40 yrs- advocate for art embracing technology- aware of mass consumer and their interests- post-modern society- sees TV for a vehicle for exchange of ideas- optimistic version of these images- associates each state w it's pop culture-ex. Idaho potatoes- combines usual technology w installation art |
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| Nam June Paik, Electronic Superhighway, 1995- dramatized map of US filled w media/pop culture and neon- circuit boards, speakers, desk lamp, etc- took about 40 yrs- advocate for art embracing technology- aware of mass consumer and their interests- post-modern society- sees TV for a vehicle for exchange of ideas- optimistic version of these images- associates each state w it's pop culture-ex. Idaho potatoes- combines usual technology w installation art |
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| Cindy Sherman, Untitled Film Stills, #13, 1977-80- 8"x10"- postmodernism- working in a series allows you to see the artist move- sense of re-production- revisits same subject over and over- sense that everything can always be replaced- delayed shutter technique- she's on display for approval and pleasure of others- remaking herself- Hollywood cinema? sharp images w dramatic lighting often- feminist art- are women just visual pleasure? sexual imballance |
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| Cindy Sherman, Film Still #96, 1981- postmodernism- part of a new series- makes us think of men's magazines but clothed figures- tight framing w close figures! leads to decontextualization and forced intimacy- lots of orange, there for our consumption- sprawled out before us, functioning as an object- gender cliches- fits in w postmodernism |
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| last quarter of the 1900s/began in 1960s- revisionist history, interested in technology, multiple viewpoints, rejects grand narratives- think of race, class, gender- great focus on size, gender construction, sexuality, multiculturalism- revisionist story- telling all parts of history- multiple histories- rejecting grand narratives to challenge distinction btwn high and low art- what is really art? dead by 2011 |
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| Barbara Kruger, You are a Captive Audience, 1992- works in series and embraces postmodernism- editor for women's magazine who turns it into installation art- disrupts space- she is blunt- smaller work- stock photography from a magazine- she has disruptive text cutting across the image w a vertical, breaking line- vague statement- emphasizing band of ownership- questions patriarchal order and capturing a woman w marriage- expression of love and power- close view composition so decontextualized- she also shows that re-presentation should be embraced |
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| Renee Cox, Yo Mama, 1993- body is the source of her work- uses it to comment on AA women- black and white- naked w heels- power in art and womanhood- wants to change position of black mother so she is powerful/defiant- in one of them she restages western art themes- flips the script- flash exposure and layers of weight |
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| Shirin Neshat, Untitled, 1995- Iranian- worked w film, video installation and photos in response to changes in Iran after Iranian revolution- how are muslim women portrayed in the west? contradictions/shifting public opinions of muslims- rifle in the foreground- veil, gun text and gaze are all associated w muslims- social and political commentary- close up on the face- barrel of gun on the side of her face |
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| Jasper Johns, Flag, 1954-55- 3.5 by 5 ft- heated wax and pigment- deemphasis on illusionism- predetermined composition- simplicity and familiarity of object but they make it 3D w wax (atypical of flag)- draws attention to process, giving it the same weight as subject- you arent looking for symbolism- you are more focused on the visual experience of an everyday object |
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| Jasper Johns, Light Bulb, 1958- scuplture- the subject lacks uniqueness- handmade object that looks like a mass-made object- roughened surface w a not entirely perfect smooth bulb on top even though lightbulbs are usually uniform- decontextualizes the object from its actual use- appropriation |
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| adopted imagery created for one purpose and used for another and then called art- ex. jasper johns |
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| Jasper Johns, Map, 1961- old school notebook and he makes an image that relies on the map while destroying the markers of a map at the same time- no longer legible/straight edges- blurred colors and state lines- creates an object that is its own object independent of what it is referencing- it is not functional in its normal role- premeditated scribble-scrabble quality |
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| Robert Rauschenberg, Bed, 1955- electricism, moves btwn media, invested in a collaboration of materials/mixed media- combines series- the bed has wood, oil, pencil, quilt, sheet- inventive- relies on discarded materials- size of actual bed- trickling paint- no unified message- collage- pop culture v the mundane |
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| collage is flat whereas assemblage is more 3D |
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| Robert Rauschenberg, Retroactive I, 1963/64- overview of the landscape of media- meant to trigger the flipping through channels feeling- frenetic, disjointed nature of mass media- portrays a sensory experience- grainyness of TV- captures a post WWII sentinment and pushing into cold war- period of economic prosperity- glorifying JFK- raises Qs about taste and value |
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| began in 1950s- advertisements everywhere- mass culture is mass produced stuff and mass consumption is how ppl interact w that stuff- broad appeal |
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| Andy Warhol, Soup Cans, 1962- questioning the idea of consistency and mass familiarity and recognizability where you value the outside labels which builds brand loyalty- hand painted individual cans- uniformity and repetition yet they are all hand-painted- changes the flavors of each- visual imprint w emphasis on sameness- renders insignificant the individual characters of each object- no value on uniqueness, no sentimentality- looks a lot into duplication- playing w conformity- refers to his studio as a factory |
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| Andy Warhol, Gold Marilyn, 1962- analyzing stardom which is a manmade creation- conflating wealth, appearance, talent- markers of success- star identity arises as technology arises- ppl rely on the propogation of their images to become famous- icon o ffemale bauty- repeated exxcesively in pop culture- we dont know who she really is bc we jsut see recreations of her stardom- funeral quality, response to her death bc she seems removed- in a gold that is sorta repellent- commercial v fine art? |
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| Andy Warhol, Brillo Box, 1964- part of THE AMERICAN SUPERMARKET exposition- crossover btwn pop culture, life and art- brand names- he is making a statement about galleries being like supermarkets- calls attention to how society displays art and food- bold and bright, easily accesible and consumable |
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| what is happening in 1960s |
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| vietnam war, civil rights movement, women's liberation movement, student revolts, institutional critique |
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| Hans Haacke, MetroMobilitan, 1985- covnis? overhanging of met museum- banners and exhibitions of Nigeria- and mobil gas hangings- apartheid is still present in S africa and mobile is selling gas/oil to the white powers and at the same time are funding an exhibition of ancient nigerian arts- totally hypocritical- mobile is trying to bolster their image- behind the banners is a pic of a funeral procession in S africa- met is complicit w mobile's wrongful acts so they are no longer politically neutral |
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| Cildo Meireles, Coca-cola Project, 1970- he is a brazilian artist- 1970's- brazil was under military dictatorship- he wants to subtlety critique it- he writes different anti-govt protest statements on the bottles but it cant be traced bc bottles are always recycled through the factory- one of them has bomb instructions- but when you drink the coke the message dissapears- he is able to disperse his message through a new method other than museum for his art- he also stamps political statements on money |
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| is institutional critique possible? |
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| hard bc things are displayed in museums even when they are criticizing the museums- but cildo meireles finds a new method of circulation |
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| Claes Oldenburg, Mouse Museum, 1965-1977- actual structure he invents- installation art where you have to go inside- inside you have glass cases w random objects- crap- non art/mundane objects that he puts in cases- questions there legitimacy |
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| themes of contemporary art |
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| museum=aesthetic, economic and mystical, preservation, collect, refuge |
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| Claes Oldenburg, Pepsi-Cola Sign, 1961-he is sweedish but was raised in chicago- he likes political, erodical art that does more than sit on its ass in a museum- muslin soaked in plaster- reuqires you to be involved and eliminates boundary btwn viewer and artist- replicates dime store merchandise- he entitles his galley the "store" to interrogate museums/how art is displayed- screw w their expectations- space v. point of sale- interested in familiar everyday objects but interested in using weird materials that you wouldnt associate w those objects to portray them- mocking the role of surface packaging and commodities-playing w surface and disrupting the cleanness of mass production- destabilizing form- looks like it's melting |
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| Claes Oldenburg, Floor Cone, 1962- collapsed version of the object that is lying horizontally which is not how we think of it- it sags and the medium of cloth creation makes it unappatizing and the texture not appealing/edible-looking- gives it the human element and a sense of time/gravity/vulnerability- saggy flesh- examination of the human form and how it deteriorates- messing w materials and scale |
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| James Rosenquist, President Elect, 1960-61/64- he cares about large scale- 7.5 by 12 ft oil paint- gets various magazine cutouts and relies on gridlines to keep proportions accurate- painting by hand but you dont see his hand- draws from popular print culture- portraying legibility/accesibility- hyper-real/almost abstract- exploration of form/color- there is a distance btwn you and the work as he tries to portray the shells of people- emphasizing emptiness of signs that exist only as representations- JFK is being celebrated through fettishing signs |
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| James Rosenquist, F-111, 1964- large work 10 by 86 ft- takes up entire gallery space- really encapsulates you- political- built around the gallery space- space is important- engulfs you- collage, juxtaposition of seemingly incongruous elements- reference to american fighter jet- political discourse- bright aesthetic pulling from mass culture- bomb aesthetic of chaos- referencing issues of militarization during the cold war- manmade objects that cause destruction- analyzing how americans now process info- lgeibility v. murky cultural situation- complicated |
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| began in the 1950s/early 60s- manufacturing and nationalism- the ideas, perspectives, attitudes, images and other phenomena that are preferred by an informal consensus within the mainstream of a given culture- heavily influenced by mass media and the middle class- permeates everyday life of society- middlebrow culture |
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| Map of Disneyland, 1955- disney was an installation of mass culture- very invested in space and movement of ppl- infused w meaning- different from most pop culture bc the disney map isnt seeking to create opposition to something else- it wants to create a cohesive story/path that makes us engaged w the display- attracts heteronormative families- capitalist buying and selling culture- no intent of critical reflection- promoting middle brow social harmony- ppl are thrust back into a different historical moment- adventureland is celebrating travel but through a secondary experience in one place- guests dont care that it is a re-presentation, fantasyland- offers escape- promotes a wished reality, tomorrowland |
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| Roy Lichtenstein, Drowning Girl, 1963 - comic book/advertisement look- emphasizes power of aesthetic/dominant commercial design- exteremly precise drawing style that makes it look manufactured- parodies images similiar to modern mass produced even though handmad- element of drama but we dont know full story/context so emotional flatness- exploits benday dots- known to be an inexpensive mode of creation- we are intrigued by process |
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| Roy Lichtenstein, Little Big Painting, 1965- doesnt care about subject matter very much- image of a brush stroke but ironic bc it is painted but looks mass produced bc you cant see his hand- taken something mundane and made it a full painting- interrogation- gives you a big brushstroke but removes the emotiveness bc he thinks the brushstroke is not what actually reveals an artist's touch- paint and photomechanical reproduction are placed in conversation |
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| photography as an artform |
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| jump back 50/60 years before pop art- 1890s is when kodak puts image production in the hands of everyone |
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| Fred Church, George Eastman on the S.S. Gallia, 1890- he developed photographic supplies that allowed for an easier processing of film- simple carbdoard box camera that uses flexible paper- spontaneous and informal representation- allows for less formal views of culture |
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| Alfred Stieglitz, The Hand of Man, 1903- playing w the question of whether or not the camera is doing all the work in photography art- leads a movement called pictoralism which promotes photos as art- individualistic treatment of the subject- he sees the act of selecting your shot strategically as the artistic part of photography- big proponent of atmosphere- contemporary image- playing w track lines to create depth and movement- tracks and telephone poles- showing industry- investment in subjectivity- our position in the photo matters bc train is moving towards us- emphasis on tone- greys, blacks, white- subtle |
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| Alfred Stieglitz Reflections: Night – New York, 1897- 59th and 5th ave- recognition of technology of streetlights which you need in order to capture the image- sensitive to the differences in atmosphere- likes that darkness creates an emphasis on silhouette and form- emphasizing a new space- making ppl see what they see everyday in a new light- saying some sights need to be reexamined |
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| Peter Henry Emerson, The End of the Furrow, 1887- impact on pictorialism- he believed in not altering the negatives, and instead, using the environment as your atmosphere for art- there is a detailed foreground juxtaposed w blurry background- emerson argues that sharp photography isnt the same as real life bc you cant see everything in your view clearly at once bc you cant concentrate on it all- he thinks ultimate pictoralism should be the way it is seen by the human eye in nature (contradicts w henry peach robinson's ideas about photography) |
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| Eadweard Muybridge, The Horse in Motion, 1878- interesting bc it was more leaning towards using photography for science and discovering things that were blind to the naked eye- the picture revealed that there is a moment when a horse runs where all 4 hooves are off the ground which was previously unknown- |
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| Anonymous, “Samoan Woman holding a War Club, ca. 1893- engaging the history of the nude w western art but ignoring western standards- people are decontextualized and woman art sort of eroticized- happening around the same time nat geo is becoming popular w their science and art mix of photography- reflects back on colonialism- 1800s when powerful nations of west and america economically and technologically controlled weaker ppl/nations- reconstitution of native culture which is being represented without any say in how- no control- conquering them through/in photography somehow reflects how they were conquered physically in real life- can westerners justify the harsh treatment? |
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| Tom Wesselmann, Still Life #30, 1963- bright colors, sharp edges, showing iconic/nuclear american kitchen with all of the classic pieces of popular culture- focusing on popular brands and suggesting a level of american conformity caused by the arising pop culture of brands- uniformity/expectation? oil, enamel, synthetic paint- language of collage- clean, crisp, bright, visually engaging- want to touch- still life of arangement of everyday objects- often celebrates material pleasures/the ephemeral/ec. prosperity- democracy of the west and the ideal american position |
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| Gretchen Bender and Philip Vanderhyden, People in Pain, 1998- the artist began with a list of every Hollywood movie that was in production for a six-month period between 1987 and 1988. Bender then printed the titles in a uniform font onto hardened black vinyl that resembled the crumpled, glistening appearance of a trash bag. Some of the movies—Dirty Dancing, Fatal Attraction, Full Metal Jacket, and Predator, for instance—are remembered today. Most are forgotten. Others, such as Word of Honor and Cry Moon, were never released at all. The work comments on the non-stop flow of often mindless entertainment media that inundates American culture every year. The titles are flattened out in presentation so that no single film is privileged over another: they’re all just part of a metaphorical trash flow.- most were bad/forgettable cinema- merging news w media, uses a shifty/fake material- content is easily accesible my masses- ungulating, inky flow- bland media- how do we digest all of this media properly? |
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| Pedro Velez, Twitter Review, 2013- Pedro Vélez’s project at the Whitney Biennial included “visual essays,” which emulated movie or pop music posters. Vélez overlaid quotations by art critics onto images depicting art world figures. He also wrote reviews of the Biennial on postcards, sometimes making scathing statements, that he freely distributed at the event.- questioning the idea of art with the poster-look that doesnt have the aesthetically-pleasing feel that a lot of art has but it has a deep meaning, partially revealed through the text on the work- dealing w political issues of white privledge- big banners- artist and critic of pop culture- he questions what the biennials are for- criticizes how institutions define art- creates visual essays- comfortable use of imagery and text- you have to be really engaged/reading- criticized woman surrounded by choppy/flurry of tweets you maybe shouldn't send? draws our attention to ways we communicate- art and twitter are both important voices in communication- provides an opening of culture |
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| Diego Leclery, Me Playing Civilization, 2014- works w photography but becomes a performance artist- sits outside whitney biennial and plays video games- he is interrogating process/impulsiveness- it is considered a duration performance- building on an environment- you have an artist who cant make art- he is interrogating production as a time-sensitive act? does the amount of time you spend on something classify it as art? bc what he is doing is also time sensitive- he is disrupting our idea of art- no studio, isolates himself w technology- this is interesting bc typically w pop art you dont focus as much on how it was produced.. you focus on your own interpretation |
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