1036 34.3

Man Pointing

D: 1947

P/S: Existentinalism

A: Alberto Giacometti ( 1901-1966)  Swiss Artist, he caught the spirit of the existentialist philosophy.

Pa: N/A:

L: Curr. Des Moines Art Center, Des Moines

M/T: Bronze no. 5 out of 6

F: Thin, virtually featureless figures with rough, agitated surfaces

C: Seem swallowed up by the space around it, imparting a sense of isolation and fragility.

DT: None

1037 34.4

Number 1, 1950 (Lavendar Mist)

D: 1950

P/S: GESTURAL Abstract Expressionism (The first American avant-garde movement, emerged in New York and is often referred to the New York School) in the 1940s. Mostly abstract, but express the artists state of mind. Artists tried to broaden their views to express the collective unconscious. (deveoped Gestural Abstraction and Chromatic Abstraction)

A: Jackson Pollock (1912-1956)

Pa: N/A

L: Curr. Washington

M/T: Oil, enamel, and aluminum paint on canvas

F: Composed of rhythmic drips, splatters, and dribbles of paint, and the mural-sized fields of energetic skeins of pigment envelop viewers, drawing them into a lacy spiderweb.

C: He flung, poured, and dribbled paint onto an unsized canvas. He created spontaneous and choreographed art.  Has a lack of a well-defined compositional focus in his painting departed from conventional painting.

DT: "jack the dripper"

1038 34.6

Woman 1

D: 1950-1952

P/S: Gestural Abstraction

A: Willem de Kooning (1904-1997) Dutch-born.

Pa: N/A:

L: New York

M/T: Oil on Canvas

F: Diplays sweeping gestural strokes and energetic application of pigment typical of gestural abstraction.

C: Out of the jumbled array of slashing lines and agitated patches of color appears a ferocious-looking woman with staring eyes and ponderous breasts. Toothy smile, seems to turn into a grimace. Suggests fertility figures and a satiric inversion of the traditional image of Venus, goddess of love. He continually worked on this piece for two years, scraping and beginning anew the next day. Approx. 200 scraped-away images of women on this canvas.
DT: None

1039 34.8

No. 14

D: 1960

P/S: Chromatic Abstraction

A: Mark Rothko (1903-1970) Deals with universal themes. Born in Russia, moved to US when he was 10. He believed anything specific in the physical world conflicted with the sublime idea of the universal, supernatural "spirit of myth" which he saw as the core of the meaning of art.

Pa: N/A:

L: San Fransisco

M/T: Oil on canvas

F: Two or three large rectangles of pure color with hazy, brushy edges that seem to float on the canvas surface in front of the colored background.

C: Appear as a shimmeringly veils of intenselyluminous colors suspended in front of the canvases. Althought the colors are visually appealing, he meant them only for decoration. saw color as a doorway to another reality.

DT: None

1040 34.9

Cube XVIII

D: 1963-1964

P/S: Abstract Expressionism and a lil bit of Cubism

A: David Smith (1906-1965) American Sculptor . Learned to weld in an automobile plant in 1925.

Pa: None

L: Massachusetts

M/T: Polished stainless steel

F:Simpe geometric forms, cubes, cylinders, and rectangular bars.

C: Stainless steel piled ontop of one another and then welded together, these create large imposing structures. Composed to suggest human characteristics. Added some gestural elements by burnishing the metal with steel woll.

DT: None

1041 34.12

Bay Side

D: 1967

P/S: Post Painterly Abstraction. American movement out of Abstract Expressionism. Mainfests a radically different sensibility. Loose, visibile pigment application. Pure art AND COLOR FIELD PAINTING

A:Helen Frankenthaler  (b. 1928)

Pa: N/A:

L: New York (Private collection)

M/T: Arylic on canvas

F: basically a color field painting. Where painters like her poured diluted paint onto unprimed canvases. allowing the pigments to soak into the fabric.

C: Results in major flatness.

DT:Boring

1043 34.16

Vietnam Veterans Memorial

D: 1981-1983

P/A: Minimalism

A: Maya Ying Lin (b.1960) age 21 built this.

Pa: Veterans Federation

L: Washington D.C. Insitu

M/T: Black granite, each wing 246' long

F: A v shaped wall made of polished black granite panels, beginning at ground levels at each end and ascended to a height of 10 ft. at the center of the V.

C: Names of the Vietname War's 57,939 casualties (and those still missing) incised on the wall, in the order of their deaths. It's also set into the landscape enhancing an awareness of descent as one walks along the wall toward the center.

DT: Memorial

1044 34.17

Tropical Garden II

D: 1957-1959

P/S: Minimalism

A: Louise Nevelson (1899-1988) Russian-born. Created a sense of architectural fragment with the power of Dada and Surrealism found objects to express personal sense of lifes significance.

Pa: N/A:

L: Paris, France

M/T: Wood painted black

F: Monocrhomatic color scheme unifies and creates and mysterious fields of shapes and shadows. Structures suggest a magical environment.

C: Resembles the secret hideaways dimly remembered from childhood. boxy frames creates a manufactured geometric feeling and structure.

DT: None

1051 34.27

Just What Is It That Makes Today's Home So Different, So Appealing?

D: 1956

P/S: British Pop Art (Reintroduced all of the artistic devices-signs, symbols, metaphores, allusions, illusions, and figurative imagery-traditionally meaning in art that recent avant-garde artists, in search of purity, had purged from their abstract and often reduced works. 

A: Richard Hamilton, a group member of the Independent Group in London  from the Independent Group at the Institute of Contemporary Art in London in the early 1950s.

Pa: N/A:

L: Germany or some random shit like that

M/T: Collage (kindergarden project anyone?)

F: Small collage that characterized attitutes of bristish pop art.

C: Combined popular art and fine art, seein gboth as a whole world of visual communcation. Created for the Just What Is IT poster and catalog of one section of an exhibition titled This Is Tomorrow- an environment installation filled with immages from Hollywood cinema, science fiction, the mass medica, and one reproduction of a van Gogh panting (to represent popular fine artworks). Refects values of modern consumer culture through figures and objects cute from flossy magazines.

DT: None

1052 34.29

Canyon

D:1959

P/S: Pop Art

A: Robert Rauschenberg. Set out to create works that would open and indeterminate, and he began by making combines which interspere painted passages with sculptural elements. These are like assemblages, artists constructed from pre-existing objects.

Pa: N/A:

L: New York

M/T: Oil, Pencil, paper, fabric, metal, cardboard box, printed paper, printed reproductions, photograph, wood, paint tube, and mirror on canvas, with oil on bald eagle, string, and pillow

F: IN the 1960s, he adopted the commercial medium of silk-screen consisting of pigment roughly pplied in a manner reminiscent of de Koonings workd.

C: All presented in a jumbled manner. Compositional confusion. that may resemble a Dada collage, but some parts mainting their individuality more than those in a Schwitters piece. Visual nonsequiters.

DT:Uhhhno, idea.

1053 34.30

Hopeless

D: 1963

P/S: Pop art

A: Roy Lichtenstein (1923-1997) turned his attention to the comic book as a mainstay of American pop culture.

Pa: N/A

L: Basel

M/T: Oil on canvas

F: Basically he exerpted images from a comic book, a form of entertainment meant to be read and discarded, and immortalized the image in monumental scale.

C: He selected a melodramatic scene common to the romance comic books that were exceedingly popular. He used the visual vocabulary of the comic strip, with its dark black outlines and unmodulated  coor areas, and retained the familiar square dimensions. He uses benday dots, the modulation of colors through the placement and size of colored dots.

DT: None

1053 34.31

Green Coca-Cola Bottles

D: 1962

P/S: Pop art

A: Andy Warhol (1928-1987) Americas quintessential American pop artist. Successful career as a commercial artist and illustrator grounded Warhol in the visual rhetoric of advertsing and the mass media.

Pa: N/A

L: New York

M/T: Oil on canvas

F: Selected an icon of mass-produced, consumer culture of the time. it's manufacturers felt compelled to launch a major advertising campaign to challenge the growing market share of Pepsi-Cola.

C:  Visual imagery and visual vocab and a printing technique that connected to the consumers culture. Repetition and redundancy of the Coke bottle reflects the omnipresence and dominance of this produced in American society. Silk screen. So immersed was Warhol in a culture of mass production that he not only produced numerous canvases of the same image but also named his studio "The factory."

DT: None

1054 34.32

Marilyn Diptych

D: 1962

P/S: Pop Art

A: Warhol

Pa: None

M/T: Oil, acrylic, and silk-screen enamel on canvas.

L: London

F:  Created in the weeks following her tragic suicide of the movie star in August 1962, capitalizing on the media frenzy that her death prompted.

C: Selected a publicity photo of Monroe that shoed no insight to the real Norma Jean Baker. All they see is a mask-the persona of Hollywood myth machine generated. The garish colors and the flat application of paint contribute to the images masklike quality. This reinforces her status as a consumer product.

DT: None

1055 34.34

Marilyn

D: 1977

P/S: Superrealism/Interested in finding a form of artistic communication that was more accesible to the public than the remote, unfamiliar visual language of the Ab. Expressionists. Reproduced in minute and unsparing detail the commonplace facts and artifacts that Pop art addressed.

A: Audrey Flack/ American. Movements pioneers

Pa: None

L: Tucon, Arizona

M/T: Oil over acrylic on canvas

F:Not simply technical exercises, but also conceptual inquiries in to the nature of photography and the extent to which photography constructs an understanding of reality.

C: Had a formal quality. Se used an airbrush that would duplicate the smooth gradations of tone and color found in photographs. She alludes to the traditional vanitas painting. with references to death.  fresh fruit, hourglass, burning candle, watch, calendar all refer to the passage of time and the transience of life on earth.

DT:None

1057 34.37

Spiral Jetty

D: 1970

P/S: Site specific art (Environmental Art)

A: Robert Smithson. Leading American artist, used industrial construction equipment to manipulate vast quantities of earth and rock on isolated sites.

Pa: None

L:  Great Salt Lake, Utah

M/T: Black rock, salt crystals, earth, red water (algae)

F: Mammoth coil of black basalt, limestone rocks, and earth that extends out into the Great Salt Lake in Utah.

C:  Insisted on designing the work in response to the location itself: he wanted to avoid the arrogance of an artist merely imposing an unrelated concept on the site. 

DT:None

1060 34.40

Solomon R. Guggenheim Museum

D: 1943-1959

P/S: Modernist Architecture

A: Frank Llyod Wright, described his work as organic.

Pa: Solomon R. Guggenheim?

L: New York

M/T: Concrete, marble or whatever.

F:Introduced curves and circles into some of his plans. Inside the shape of the shell expands towards the top, and a winding interior ramp spirals to connect the gallery bays, which are illuminated by a skylight strip embedded in the museum's outer wall.

C: Thick walls and organic shapes give the building of turning in on itself. The long interior viewing area opening onto a 90-ft central well of space seems a sheltered environment, secure from the bustling city outside.

DT: None

1060 34.42

Notre-Dame-du-Haut

D: 1950-1955

P/S: Modernist Architecture

A: Le Corbusier

Pa:

L: Ronchamp, France

M/T:

F: Presented viewers with a fusion of architect and sculpture in a single expression.

C: The architect designed this small chapel on a pilgrimage site in the Voges Mountains to replace a building destroyed in WWII. Monumental impression from far away is deceptive. Very intimate scale, stark and heavy walls, and mysterious illumination (jewel tones from the deeply recessed stained-glass windows) give this space an aura reminiscent of a sacred cave or a medieval monastery. Frabric was formed from a frame of steel and metal mesh, which was sprayed with concrete and painted white.

DT: None

1061 34.44

Sydney Opera House

D: 1959-1972

P/S: Modernist Architecture

A: Joern Utzon (b. 1918) Danish architect.

Pa: N/A

L: Sydney, Australia

M/T Reinforced concrete; height of highest shell 200'

F: Opera House, a bold composition of organic forms on a colossal scale.

C: The style resonates distantly with the graceful curvature of the Guggenheim Museum. Two clusters of immense shells rise from massive platforms and soar to delicate peaks. Buoyancy of seabird wings and the sails. Metaphores are appropriate to the harbor surrounding Bennelong Point, whose bedrock foundations support the building.

DT: Majorly organic

1066 34.52

Georges Pompidou National Center of Art and Culture (the "Beauborg")

D: 1977

P/S: Modernist Architecture

A: Richard Rogers(British architect) and Renzo Piano(italian architect) (short-lived partnership) Involved using motifs and techniquesfrom ordinary industrial buildings in their design.
Pa: -

L: Paris, France

M/T: Color-coded pipes, ducts, tubes, etc.

F: Anatomy of this 6 level building is fully exposed, rather like an updated version of the Crystal Palace.

C: Red for the movement of people, green for water, blue for air-conditioning, and yellow for electricity) "cultural supermarket." It's exposed entrails excessive maintenance to protect them from the elements. Flexbile interior spaces and the colorful structural body procides a festive environment for the crowds flowing through the building and enjoying the stuffs in it.

DT Secular activity

1067-1068 34.54

Guggenheim Museo Bilbao

D: 1997

P/S: Modernist Architecure/Deconstructivist

A: Frank Gehry (Canadian-Born b. 1929) Trained in sculpture. Works up his designs by constructing models and then cutting them up and arranging them until he has a satisfying comp.

Pa:Spain? :D

L: Bilbao, Spain

M/T: Scaled limestone and titanium clas exterior

F:  Appears a mass of asymmetrical and imbalanced forms and the irregularity of the main masses seems like a collapsed or collapsing aggregate of units.

C: "Metallic flower" topping the museum. In the middle of the museum, an enormous glass-walled atrium soars to 165 feet in height, serving as the focal point for the three levels of galleries radiating from it. The seemingly weightless screens, vaults, and volumes of the interior float.

DT: None

1069 34.56

Tattoo

D: 1979

P/S: New Expressionist Explorations
A: Susan Rothenberg/American (b. 1945) produced a major series of large paintings with the horse as the central image. The horse resonates with history and metaphor- from Roman equestrian sculpture to the paintings of German Expressionist Franz Marc. Saw horses as metaphors for humanity.

Pa:N/A

L: Walker Art Center, Minneapolis (purchased with the aid of funds from Mr. and Mrs. Edmond R. Ruben, Mr. and Mrs. Julius E. Davs, the Art Center Acquisition Fund, and the National Endowment for the Arts, 1979)

M/T Acrylic, flashe on canvas

F: Distilled the image down to a ghostly outline or hazy depiction that is more poetic than descriptive.

C: Her works fall in the nebulous area between representation and abstraction. The loose brushwork and agitated surface contribute  to the expressiveness of the image and account for his categorization as  a Neo_Expressionist.

DT: None

1072 34.59

The Dinner Party

D: 1979

P/S: Feminist/Modern

A: Judy Chicago (Born Judy Cohen in 1939)

Pa:

L:

M/T: Multimedia, including ceramics and stitchery, 48' along each side of triangular installation

F: Wanted to educate viewers  about women's role in history and the fine arts.

C: Aimed to establish a respect for women and their art, to forge a new kind of art expressing women's experiences  and to find a way to make that art accesible to a large audience. Developed a personal painting style that consciously included abstract organic vaginal images. Used craft techniques traditionally practiced by women, to celebrate the achievements and contributions women made throughout history. Feminist last supper attended by 13 women, the honored guests.  Notion of a dinner party also alludes to women's traditional role as homemakers. inscribed with 999 women of achievement. Like O'Keefe, the Egyptian Pharoah Hatshepsut, Virginia Woolf, Sacagawea, Susan B. Anthony, etc.

DT: None

1073-1074 34.61

Untitled Film Still #35

D: 1979

P/S: Feminist/Modern

A: Cindy Sherman/ American Artist, addreses in her her work the way much of Western art has been constructed to present female beauty for the enjoyment of the "male gaze," a primary focus of contemporary feminist theory.

Pa: N/A

L: N/A?

M/T: Gelatin silverprint

F: Procued a series of more than 80 b&w photographs tituled Untitled Film Stills that began in 1977.

C: Considered how representation constructs reality, and this led her to rethink how her own image was conveyed. She took control of her own image and constructed her own identity. So generic that the viewer cannot relate them to specific movies. Often shown with the shutter release cable she holds in her hand to take the picture.

DT: None

1076 34.65

Untitled

D: 1990

P/S:  Feminism/Modernism

A: Kiki Smith/American (b. 1954)

Pa:

L: New York

M/T: Beeswax and microcrystalline wax figures on metal stands, female figur installed height 6'1 1/2 and male 6' 4 15/16.

F: Focuses on the issue of who controls the body. Her early work consisted of sculptures referring to bodily organs and bodily fluids. She also wants to reveal the socially constructed nature of the body, and encourages the viewer to consider how external forces shape the people's perceptions of their bodies.

C: Presents the viewer with depictions of the body that dramatically depart from conventional representations of the body.

DT: Bodily fluids, dumb.

1077 34.66

Who's Afraid of Aunt Jemima?

D: 1983

P/S: Feminism/Modernism

A: Faith Ringgold. Used her art to explore issues associated with beigng African American women in contemporary America. Inspired by the civil rights movement.  produced numerous works in the 1960s that provided pointed and incisive commentary on the realities of racial prejudice.

Pa: n/a

L: Private collection

M/T: Acrylic on canvas with fabric borders, quilted.

F: Composed of dyed, painted, and pieced fabric. Moving tribute to her mother, this work combines the personal and political. Includes a narrative a witty story of the family of Aunt Jemima, most familiar as the stereotypical black "mammy" but here a successful African American businesswoman.

C: Conveyed this narrative through both a text, written in black dialect, and embroidered portraist, all interspersed with traditional patterned squares.

DT:None