Final Slides Flashcards
Kazimir Malevich
Suprematist Composition: White on White
1918
white as a space of infinity, some composition (hand of artist seen), discussed by Moholy-Nagy
El Lissitzky
Town
1919-20
coming out of the canvas, relation to Malevich’s black square
Marcel Duchamp
Fountain
1917
shock, affront to the notion of art, bodily functions
First International Dada Fair
1920
“art is dead,” political, attacks notion of a gallery space
Robert Rauschenberg
White Painting [Three Panels]
1951
shock, not abstract (unlike Newman) no subjective reading, relationship to readymades, working within institution, turned into combine
Floor plan of John Cage, “Untitled,” (Black Mountain College Event)
1952
Drawn by M.C. Richards
no photographs, action happened everywhere, connection to lots of mediums, Artaud and mise en scene
Ellsworth Kelly
Window, Museum of Modern Art, Paris
1949
constructed relief, moves into real space, window as metaphor, Fresh Widow, canvas as physical with two sides
Robert Rauschenberg
Factum I and Factum II
1957
has duplicate but can’t tell which is first bc done at the same time, paint and cloth and language, iteration
Robert Rauschenberg
Charlene
1954
relation to Four Fur Cutting Boards with 4 panels, similar motifs
John Cage
4’33”
1952
ambient and almost site-specific, moving away from intentionality to understand world, silence as transparency (separates from Dada minus Duchamp)
Marcel Duchamp
The Bride Stripped Bare by her Bachelors, Even (The Large Glass)
1915-23
exploring relationship to environment, flatbed picture plane, sandwiched between two panes of glass, transparency (Cage)
Jasper Johns
Flag
1954-55
first mature work (attempted to destroy previous works), relationship between material and paint, change in focus (flag/newsprint), flag/target question (focus of mind/eye changes)
Jasper Johns
False Start
1959
matches/mismatches language and reality with colors and titles, subverting language to subvert understanding (not hard to make but hard to understand)
Marcel Duchamp
The Bride Stripped Bare by her Bachelors, Even (The Green Box)
1934
recursive/language like Johns, box was created later, self-contained, Fluxus Year Boxes
La Monte Young
Composition 1960 #5
1960
indeterminate length of performance, aimed at testing/going beyond Cage, relate to Audience Piece
Yoko Ono
Audience Piece
1962
reverse roles of performer and audience like comp #6, places of audience and performers interchangable based on power
George Brecht
Word Event (Exit)
1961
de-skilling using something super banal, anyone can exit, movement between language and readymade object
Robert Morris
Box with Sound of Its Own Making
1961
perform role of listener by listening to recording (Cage did it, called it performance), self-contained, also a score for another performance (it can be measured and reproduced)
Jackson Pollock
Cut-Out
1948-50
Ohara sees it as something scupltural and hybrid, cut away from abstract field to create figure in negative, figuration/abstraction in state of negation
Claes Oldenburg
Snapshots from the City as performed in “The Street”
1960
relationship between movement and stasis (life/death), language and figuration undermined like Johns, status of object as artwork (False Start)
Claes Oldenburg
The Store
1961
environment, notion of the fragment, commodity fetishism (consumer desire projected onto object), between sculpture and painting, shop window, readymade opposite of Duchamp
Hans Namuth
Photographs of Jackson Pollock at work on Autumn Rhythm
1950
motion, artist being in the art, aesthetic sublimation (artist directs impure energy (sexual, violent) into pure art energy) opposite of de-sublimation in Snapshots
Allan Kaprow
18 Happenings in 6 Parts
October, 1959
first happening, smell incorporated as a form of inter-mediality, audience/performers moved
Carolee Schneemann
Four Fur Cutting Boards
1963
fully in dialogue with R, umbrellas but also kinetic, four panels
Carolee Schneemann
Eye Body
1963
performance for a camera, putting herself into the collage (gender dynamics), notion of western nude (being both the image and the maker as a woman), precursor to feminist art
Carolee Schneemann
Meat Joy
1964
best-known, transforms paradigm of post-Cagean happenings, embraces messy multiplicity (Artaud), not mathematical like Cage but personal ethic, draw on life as a woman, male influences decrease female theatrical enjoyment (de Beauvoir)
Carolee Schneemann
Viet Flakes
1965
reference to the Vietnam war and her name, photographs not in the US press, relation to Flag with deeper level and cultural object status, mediating phenomenon through television
Ken Jacobs
Saturday Afternoon Blood Sacrifice (From The Whirled)
1956
formal composition with aesthetics of failure, form works against content (according to Jacobs)
Allan Kaprow
Yard
1961
kinesthetic relation to work like Pollock’s photographs, trash aesthetic
Ken Jacobs
Little Cobra Dance (From The Whirled)
1956
circular structure, much more free and impromptu in form+content, engagement with the camera
Ken Jacobs
Star Spangled to Death
1956-60/2003-04
aesthetics of failure (refuse), collage aesthetic, relation to older styles (vaudville), excess (like Snapshots), allegorical, fragmented
Jack Smith
Scotch Tape
1959-62
questions materiality of image, figures engulfed like P’s drip paintings, abstract field, scotch tape in corner stays constant to judge scale, comic unlike Jacobs
Jack Smith
untitled photgraph
ca. 1957
like stills from a movie, orientation indeterminable, baroque aesthetic, eroticism
Jack Smith
Flaming Creatures
1962-63
prosecuted for obscenity, erotic but not pornographic (no sex), film stock was meant as machine gun stock (war film) so outdated, shot to be overexposed, home made movie aesthetic, aestheticizing trash quality, transgressing moral codes, mise en scene, detritus of capitalist society
Stan VanDerBeek
MovieDrome
ca. 1965
indeterminate because you can’t see all 360 degrees, utopian idea of television, space/time collapsed into contiguous presence
Robert Whitman
Prune Flat
1965
replacing painting with cinema screen, space is not determined by physical commodities (ex. newspaper) but spectacular projection (ex. television)
Allan Kaprow
A Spring Happening
March 1961
essentializing women (gender politics unintentional), contrast with Schneemann and role of audience
Robert Rauschenberg
Cunning Hanger
1959
transfer drawing (partially), visually chaotic, stacks of images vertically like film, iteration, trying to modernize drawing, Cage referred to these as “combine drawings”
Andy Warhol
Baseball
1962
filmlike motion with linear progression, relation to R’s previous work such as Will
Robert Rauschenberg
Retroactive I
1963
elements of pop, collage aesthetic, transfer method, iteration of hand
