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Haacke / Shapolsky, et al. / 1970
created show doc all slum buildings owned by patron on ny museums
show was canceled by director to do artistic impropriety
later produced work about the board of trustees
challenges museum framwork that supports the artist
iterrogates how galleries operate : institutional critique
explores finances, collections, patrons, buidling itself
goal= denaturalize art instituion and get audience to see the frame of exhibition is shaping experience and involvement. |
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Broodthaers, Ground plan of musee d'art moderne, belgium / 1970
try to undermine our ideas about art institutions
mapped museum plan in sand
wore marked cap like museum official
sign fobidding touching
performance art and institutional critique |
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ASHER / untitled / 1975
mother had gallery in LA
when he turned to conceptual art he focused on commercial gallery space
tore down walls b/w exhibition and offic
muddies up pristine quality of space
white cube= aattempt to elimate distractions
assumes that art can only be understood outside context |
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Kabakou / The Man Who Flew Into Space From His Apartment / 80's
interest in narrative - material poet
space filled with junk as if dweller hoards found objects
Shabby interior falling apart - political Sov. Un. propaganda
One room in his 'Ten Characters'
Exploded out through roof = Soviet Space Program
Critique of the price paid by soviets to support ambitions |
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Tansey / Action Painting II / 1985
art about art describes the heyday of abstract expressionism thru minimalism/process art
well aware of historical movements and debates
traditional perspective bound composition- balanced
verticals / horizontals to structure images and spaces
similar to photorealism
image drained of color - monochromatic
event that cant be easily painted quicly
paint an action |
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Wilson / Museum of Jurassic Technology / 1985
attempt to re examine wonder of earlier scientific museum displays
questions truths museums give
stories woven about objects- some truth some fanciful |
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Boltanksi / lessons of darkness / 1985
born in paris on liberation day 1944
fascinated by missing jewish people
finds archival images and crops to face contours and blurs image
places light bulb in front of face
mounted photos in group = community
sealed weatherred metal boxes near = archival system, ordering info, unresolved history
recognition of power of memory |
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Wodiczko / Homeless Projection; soldiers and sailors civil war memorial / 1985
not about memory, about neglect/ forgetfulness
projects photos of people displaced due to urban renewal onto public monuments |
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Gerz / Harburg Memorial against war and fascism / 1985
slowly drops into ground
viewers encouraged to write on it
12 meter lead collum
70 thousand names
marker of hisotircal memory making invisible work
institutional critique |
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Attie / Almstadtstrasse 43 / 1990
spend 5 years researching in berlin in a jewish neighborhood
writing on the wall series
site specific projection of hisotircal photos on original deteriating building
3 senses of decay = jewish neighborhoo, buildings, phtotos
private photos made public art - political |
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Chin / Revival Field / 1990
concerned with the invasive destructive aspect of eathworks
how could art help nature recover from mans neglect
locates toxic waste dump in st. paul
works w/ scientist to explore means to recover
use plants that absorb toxins = hyper accumulators |
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Orlan / Reincarnation of Sainte Orlan / 1990
reads from a text while recieving alteration
uses plastic surgery to transform face into parts of images from history
chose not for beauty but for type of female
critiqued by feminists for perpetuating importance of appearance |
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Ligon / untitled (I feel most colored) / 1990
silk-screen process - multiculturalism
uses pop arts multiple panels, stenciling
early 90s generation af. am artists trained in conceptual art and pop tackle race, popular culture, language, desire
group of artists emerge who are interested in underminign some of the popularly recieved ideas in multiculturalism
especially the terms implications that there are discrete and separate cultures and that everyone can simply mix them without accoutning for conflict and early historical residue
the more the text is repeated the less readable it is
text suggests that race is not an essence but understood only in context
text comes from essay => how it feels to be colored me
the words end up saying what they dont do
mixes language and image that suggest over time, each is confusing the other |
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Simpson / Guarded Conditions / 1990
sex attacks and skin attacks
composition = grid w/ figures standing in a line
formally well-organized simplified and clean
6 phots each in 3 parts within frames
repetition of the term/captions = fear
rather than address rage or indignation, this appears very cool and calm = guarded
captioning is indirect
men look - women are looked at |
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Hirst / Physical Impossibility of Death in the Mind of Someone Living / 1990
dead shark in glass and steel tank of formaldehyde
confuses boundaries of what an art object is
relic-symbolic power-pay to see
sculpture, minimalism, conceptual , institutional critique
we are confronting loss and find ways to psychologically distance ourselfves from death
violence speask
youngBritishArtists |
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Rhoades / Cherry Makita- Honest Engine Work / 1995
INSTALLATION ART: use of 3D material to make a space into and artwork. No ideal experience or spectator aimed for
It aims to produce and immersive experience in which a single object is not emphasized, but instead the viewers sensory experience of all.
Foamcore garage with a running car engine and exhaust pipe
enter space => all senses engaged
representation and reality at once
sexual = mechanical theme
filled in an all over manner- same color palette to unify
similar to performance art |
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Hatoum / Foreign Bodies / 1995
Work is about feeling disconnection from place
Film different areas of her body complete with bodily sounds
visitors = fascinated and repelled
claustrophobic interior
addressing what we reject about ourselves
feelings of not belonging
everyone is foreign even to themselves
**use space to show displacement** |
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Hill / Tall Ships / 1995
VIDEO INSTALLATION: projection expands beyond 'the box' and even the screen. Forces audience to experience moving imagery as more than a passive optical experience
visitor experience is most important
creates fully immersive environment
motion activated corridor causes projects of different dream-like figures to walk towards viewer almost speaking and then turning away
question our bodies and sensory reliability and why we need to complete the interaction
explore relationship between plans and space |
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Oursler / Untitled (eyes) / 1995
scale is flexible with video installation
postmodern tie - alienation and detachment and fragmentation
ties to multiple personality disorder
involves our displacement and engagement at the same time
13 fiberglass balls with different supports and different emotions
all watching media and screens while we watch them react |
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Wilson / Mining the Museum / 1995
installed at maryland historical society
hard to get layman audiences to understand the critique
went through museum archive searching for af. am. and indian cultures
then curated and re-installed pieces
most artifacts had never been displayed
draw attention to how histories get obscured
ground of chairs facing wipping post |
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Struth / Museum of Modern Art I / 1995
work focuses upon well known works in museums and audience response
crowded and blurred people in fornt of pollock
equating works forms w/ audience response
reception theory works form shapes what response audience has |
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Currin / The Cripple / 1995
wies realism as purely artificial, drawing attention to distance from reality
2D simple portraiture realistically painted
figure has s curve
our understanding of realism is outdated and perverse as this fantasy |
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Ofili / Holy Virgin Mary / 1995
tradition black madonna
elephant poop on surface
porn butss
mix of sacred and profane |
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Koman and Melamin / americas most wanted painting / 1995
deep space, braod landscape,
surveyred people what constitutes good art
trained in art being for the people
ironic commentary on public art
thought it would be free expression but found they got same results
critiques realism and an assumption of universal standards |
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Gallagher / They could still serve / 2000
patterns hard to make out abstraction and neo geo
instead of immediately visible presensce the race markers are under the surface |
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more object oriented than 60's concept art
concept first then material solution
influenced by postmodernist interest in expanding possibilities of media
emotion/ life of artist is not emphasized
craftmanship not priority |
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Emin / My Bed/ 2000
excess of everyday objects
private info
stained sheets dirty stuff
mixed media, pop art, approach using consumer objects |
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Walker / Insurrection! (Our Tools were Rudimentary, Yet we pressed on) / 2000
Silhouette is an 18th century invention popularly used to crreate portraits of middle class people
term 'stereotype' was originally from printing industry in france - referring to making then duplicating
silhouettes cut from paper, secured to wall
the outlines and poses are curvilinear and detailed
they give an uncomfortable pleasure in the quality of execution and flow
there is an uncomfortable mixture of guilt and rage, please and displeasure, past and present |
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cai guo-qiang / advertising castle / 2000
bamboo scaffold coverred in ads to enclose exhibition site
thematic title=sights of desire
people were disoriented and couldnt find entrance
institutional critique
exhibit sponsored by government - lost that
corps interest in culture ot invest in future business
cityu council wanted it down due to unsavory link between art and commerce |
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Murakami / second mission project ko2/ 2000
jap painter and scultor examining pop culture and history
oil and acrylic on synthetic resin and fiberglass and iron
jap figure animation and makes in 3d and oversized
distinction b/w fine and and popular art is imposed by west on jap
jap art always emphsized moveemnts across flat surface
9 ft tall figure is to undermine small schoolgirl scale and 3d to take her out of fantasy
seeks to undermine psychological need of people who seek these fantasy over reality |
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Neshat / Untitled (rapture) / 2000
iranian am fimmaker uses installation and photos
films in b and w often overlays written farsi on images
strong contrsts: b&w / text&image / gender / public&private
feminism mized with cultureal issues
men in fortress women walking away
whole is structured through choreography- reflecting daily restriction |
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Yuskavage / Honeymoon / 2000
atmospheric perspective overall tone = intimate
space and figure traditionally developed centered and symmetrical round illusionistic
lighting is evocative gloomy consistent
pop art flower = deflowing
figure is there to be looked upon - objectified |
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La Verdier / et al, Tribute in Light / 2000
phantoms of original buildings |
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Eliasson / Room for one color / 2000
illusions of atmospheric density
chooses colors of light spectrum that disrupt visibility of any other color
lights arranged to cover area as evenly as possible top to bottom
use known properties of optics and other senses to produce sensory environments
produces deprivation and overstimulation |
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Kac / GFP Bunny / 2000
actual rabbit produced as art object
uses biological technology for viewers to question scientific practice
green fluorescent protein from deep-sea jellyfish into gene sequence of an albino rabbit embryo
appears green under certain wavelength of blue light
In scient they use gfp to identify where anomalies occur in body
Kac uses gene as symbol of our ideas of race and species
what constitutes racial difference - visual |
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Barney / Cremaster 3 / 2000
Cremaster muscle pulls/lowers sac
Masculinity
testing physical limits and excelling in sports
over powers serra and takes over master role |
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Tillmans / Truth Study Center / 2005
exhibits his own photos on wall, tables, under glass
present a range of visual info that circulates
pondering idea of truth becoming saturated by images
politcal economic and religious truths |
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Stelarc / extra ear on arm / 2005
performance artists interested in prostheses to create new bodily and sensory interaction and capabilities
had plastic surgeon implant a scaffold of living cells grown from his own
wants to implant a wireless microphone that transmits to web
using it to bridge distinctions between the 5 senses |
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Do Ho Suh / Seoul LA NY Home / 2000
rebuld house from dads plans and moms sewing
transportable -process art-hanging may appear different every time (crinkle)
minimalist- send out plan to be made
global- interconnection b/w movement and culture
negotiation of identity: ind & collective / national & international / Present & past |
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Baumgarten / American: Invention I / 1990
lives w/ yanomami tribe
addresses glab impact of art world's institutional power
power of naming and language
so many indigenous languages were overrun
names of ribes that have been displaced |
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