• Michael Heizer, Displaced-Replaced Mass #1/3,
  
• 1969, earthworks
  
• granite and concrete in playa surface.
• interestes in ancient culture
• tear rocks
• series of 3
• doesn't remain integrity of geometric forms
  

• 1969-70 --> michael heizer
  
• 240,000 ton displacement in rhyolite and sandstone, mormmon mesa, overton nevada
• earth works
• about mans power over nature, not so much on future erosion
• taking away material, and creating a negative impression
• 
  

• walter de maria
• the new york earth room
• 1977, earthworks, 22" deep
  
• 250 cubic yards of black soil in 3,600 sq. ft loft
• unusual component was smell
• intereseted in the physical compact on space
• mute the effect of sound
  

• Walter de maria
• the lightning field
• 1977, earthworks
• stainless steel poles, near quemado, NM
• poles create a grid, 2" in diameter and 250 feet apart, height varies
  

• a nonsite (franklin, N.J) -->robert smithson
  
• 1968
• 2 parts: 5 painted wooden bins and limestone, photographs and typscript on paper w/ pencil and transfer letters
• all materials relate to a specific location
• working in geometric forms and repetition
• dialogue btween indoors and outdoors
• space, mental projecting, and mapping
  

• robert smithson
• spiral jetty, april 1970
• black balsat and limestone rocks and earth, salt lake, utah
• indicated progress in geological time
• interested in syblime qualities of nature
  

• walter de maria, the broken kilometer
• 1979, 500 brass rods
  
• 2 meters in length, place in series of 5 rows
• thinking about the conception of space in weight lenght & time
• reconfiguring space, thinking about occupying large space in new ways
• related to minimalism "what you see is what you get" industrial material, and repetition
  

• Christo and jeanne-claude, surrounded islands
• miama, florida, 1980-83, may 23
• man made islands
• concept of flotation, and only installed a certain period of time
• time, therefore content is challenged
• completely irrational
• this is still concederned earthworks, even thought they do not use the eart as their material, but more as their canvas
  

• christo and jeanne-claude, The Gates
• 1979-2005
• 5 meters high
• 1979-2005 in reference to the time that passed from their initial proposal until they were able to go ahead with it

• Joseph Beuys, how to explain pictures do a dead hare, 1965
• performance art
  
• performed at galerie schmeal, dusseldorf
  
• called his performances actions
• face covered with honey, and coated eith gold pigmen (embodies life source)
• felt and lead tied to feet (heave and light)
• felt --> protective surface
• he wanted to change human thought (played shaman)
  

• nam june paik, tv bra for living sculpture, 1969
• performance art
  
• gave music a visual dimension
• bridging pact between art and technology
  
• issues of sexuality
  

• bruce nauman, self-portrait as a fountain, 1966-7
• performance art
  
• video pieces
• refrencing duchamps fountain
• using body to rep fountain
• playful, and engages the audience
  

• vito acconci, following piece, 1969, black & white photographs with text and chalk, text on index cards mounted on cardboard
• performance art
  
• change concept of own time and space by following individuals, and relenquishing own life
• photographs --? documents. not meant to be interesting
• body work --> engaged physical limitaions
  

• adrian piper, catalysis IV, street performance, NYC 1970-1
• performance art
• objectify herself in someway
• activities in a non-art public space
• how actions reflect on how people view us
• didn't train as artist
• space, identity, and otherness
  

• ana mendieta, arbol, 1977, colored photo of earth body w/ tree, iowa city, performance art
  
• diaologue between landscpae and female body
• body --> primary material
• photographs --> actual art object, even though they're just reporting
• intent to become one with the art
• return to maternal source, covered body with mud
  

• Faith Ringgold, aunt bessie and aunt edith, from the "family of of women mask" series, 1974, acrylic paint on canvas, fabric, yarn, beads, raffia, foam base
• social protest art
  
• She embraces her African heritage of using cloth and beads in these works
• two life-size portrait masks of Ringgold’s aunts. 
  
• They are meant to show the kind of individuals Ringgold’s aunts were, not necessarily how they looked. 
  
• This concept also reflects an African tradition.
  
•  Ringgold made both mouths open to show the need for women to speak out, even putting a whistle on one to show the need for getting attention.
  
• Her dolls offer experiences of people in her life that all viewers can relate to on some level.

• betye saar, is jim crow really dead?
• social protest art
  
• known for her work in the field of assemblage
• She began creating work typically consisting of found objects arranged within boxes or windows, with items drawing on various different cultures reflecting Saar's own mixed heritage

• Romare Bearden, The Dove, 1964, cut and pasted paper, gouche, pencil, and colored pencil on cardboard
• social protest art
• dove -->suggests presence of christian phase
  
• above busy harlem, NY street scene
• The Doce so that, beginning with the white cat t the bottom left, we travel into and around the street, always noticing something diff
  

• Philip Guston, The Studio, 1969, oil on canvas
• social protest art
  
• The painting is deadpan comic. It is a lumpen cartoon variation on a great theme of Western painting: the image of the artist in his studio, the manifesto picture that exalts the artist and his art.
• shows the modern painter amid a messy collection of his essential props " paintbrush and cigarette, naked light bulb and studio clock. Unlike traditional versions, The Studio doesn't proclaim the social standing or the social importance of the artist. It offers a less dignified kind of heroism, tough, manly, dirty, smokey.

• Bea Nettles, Suzanna ... surprised, 1970
• feminism
• "demonstrated in the uneven brown-stained surface...the defiant subject matter.... She stuffed this unmistakably confrontational nude self-portrait and sewed it around the edges, then fixed it on to a faint image of a formal garden."

• Nancy Spero, Rifle/ Female Victim
• feminism
•  as a response to America’s involvement in the war. 
  

• Carolee Sneemann, interior scroll, 1975
  
• feminism, Performed in East Hampton,NY
• performed works that celebrated sexuality and the female body.
  
• Feminism in the seventies was chiefly concerned with the societal definitions of women’s role of the artist; with the body; with a broad questioning of authority; expressive directiveness.   
  
• stood naked on a table, painted her body with mud until she slowly exracted a paper scroll from her vagina while reading from it.             
  
  

• Judy Chicago, The Dinner Party, 1979, feminism
  
• depicting place settings for 39 mythical and historical famous women. It was produced from 1974 to 1979 as a collaboration.
• its purpose was to "end the ongoing cycle of omission in which women were written out of the historical record."
• Each place setting features a table runnervulva symbol. embroidered with the woman's name and images or symbols relating to her acomplishments, with a napkin, utensils, a glass or goblet, and a plate
• celebrates traditional female accomplishments such as textile artscraftdomestic art, as opposed to the more culturally valued, male-dominated fine arts. The white floor of triangular porcelain tiles (weaving, embroidery, sewing) and china painting, which have been framed as or is inscribed with the names of a further 999 notable women.

- Richard Estes, Telephone Booths, 1968, Oil on canvas

    •   photorealism

prefers reflective surfaces to reveal space
    •    combo of multiple images brought together
    •    they go beyond optical fact to present vision that's influenced by photography, but exaggerated.
    •    interested in how manhattan was changing.
    •    on the reflection on the photobooth's, you can see what would be reflected across the street.

CHUCK CLOSE, Self Portrait, 1968, Acrylic on canvas
    •    white background simulates a very impersonal work .. like a mug shot, or a passport picture, photorealism
    •    large canvas … size is always related with importance
    •    photograph, and then draw a grid, and enlarge them .. so he can accurately paint it, creating a similar grid on canvas
    •    air brush and then refine it with actual brush
    •    de personalized (airbrush: mechanical), but focuses on the personal (self portrait)
    •    -Self-Portrait/Composite, nine PARTS, 1979, 29X29 in. polaroid photographs
    •    photograph actually become the work of art, and not merely a refrence
    •    more about the process (grid) than the final product

• Audrey flack, photorealism
  
• -Marilyn (vanitas), 1977, Oil over acrylic on canvas
      •    not actually a picture of marilyn, but who she used to be (Norma Jean Baker)
      •    there is also objects that reflect beauty in the passage of time: calendar, fruit, candle, watch, hour glass
      •    candle: prayer or memory
      •    doesn't create this as alters
      •    picture or artist as a child

• Gerhard Richter, Eight Student Nurses
• postmosernism
• portrays women who look like smiling girls from a high school yearbook, but were actually victims of a highly publicized mass-murder case in America. 
  
• His paintings are usually blurry, undermining the boundary between photography and painting.

• John Baldessari, Heel, 1986, postmodernism
  
• Photograph, Black-and-white photographs with oil tint, oil stick, and acrylic
• Over the course of his career, he continually experimented with photographs, combining them with words, painting or drawing; arranging them in storyboard sequences, and splicing them into collages. Often, as in this piece, he uses Hollywood movie stills. Each image refers in some way to the title “Heel.” You can read the images like a puzzle, each contributing a new variation on the meaning.

• cafe deutschland III, 1978, oil on canvas
• german neo-expressionism
      •    perspective existing with abstract concepts
      •    germany burden by history .. holocaust and division between east and west (wall isn't down yet)

• GEORG BASELITZ, late dinner in dresden, feb 18,1983, oil on canvas
• german neo-espressionism
      •    Graple with power of symbols
      •    active brush work: sense of tactile immediacy
      •    distorted perspective: upside down --> signature divice
      •    to attract more attention to the surface quality and not so much the figures

• A.R. PENCK, Standart, 1971, acrylic on canvas
• german neo-expressionism
      •    developed figure as a signature motif for many of his paintings
      •    intended to be generic
      •    raising arms in air --> confusion or arrest
      •    intended to be read in a variety of ways, may represent him, but may be a universal motif
      •    burdened with legacy of the holocaust

• Wayland's song (with wing), 1982, oil, emulsion, and straw on photograph, mounted on canvas, with lead
• german neo-expressionism
      •    works large
      •    personal and historical past
      •    straw would deteriorate with mix of painting over time
  Breaking of the vessels, 1990, lead, iron, glass, copper wire, charcoal, and aquatic
      •    circular area above book shelf --> dome of heaven
      •    mercy judgment, and mildness --> 3 shelfs
      •    shattered glass on floor: broken dome of heaven

• JULIAN SCHNABEL, The patient and the doctors, 1978, plaster, oil, plates, and tiles on masonite
• american neo-expressionism
      •    multi layered work (large in scale)
      •    3 panels
      •    surface--> series of broken plates
      •    creates linear elements as well
      •    speaks of his interest in gaudi and barcelona
      •    not what IS painted, but HOW things are painted

• ERICK FISCHL, Bad Boy, 1981, Oil on canvas
• american neo-expressionism
      •    draw viewer in, into this act
      •    why the title? because boy feels guilty of his sexual desire hie's feeling, or because of theft?

• Jean-Michel Basquiat, Charles the First, 1982
  
• american neo-expressionism
• tribute to his idol charlie parker