Midterm 2

Question 1

Pomona College Art Center, Asher 1970

Answer 1

Covered the office, exits and entrances but left an opening that faced the college’s chancellor’s home
POS FEEDBACk because it points out that the museum experience is based off a privatized capitalism

Question 2

Caravan, Asher 1977

Answer 2

A rented trailer with locked doors and blocked windows that were moved to 19 different sites.
POS FEEDBACK as it is not only a deconstruction of not only Burren but also the fineart idea as it shows that what the viewer brings (culturally) also affects the meaning/ site of the work. (Burren argues that context effects how the art is seen)

Question 3

Untilted (new museum, Villerbanne), Asher 1990

Answer 3

Displaying panels from the museum as a critique against the minimalism movement, as Asher believed it plays into the aesthetics of the museums architecture.
POS FEEDBACK

Question 4

Rooms with a view, Wilson 1989

Answer 4

Points out the they ways museums display certain object and the perpetuation of colonialism in museums. Has 3 different rooms, the Ethnographic, White/Art, and Period/Antique rooms
POS FEEDBACK

Question 5

White/Art Room (Rooms with a view), Wilson 1989

Answer 5

Followed the basic parameters art museums follow when displaying art. They believe it will take you out of the culture. Making the viewer focus on the art with a fineart lens. (Ethnic people can only tap into the culture their from)

Question 5

Ethnographic Room (Rooms with a view), Wilson 1989

Answer 5

Displayed artifacts as specimens (scientific nuetrality) which were mostly from non-white cultures due to enlightment ideas that only white people could make art. Never addressing how these pieces got there to the museum.

Question 6

Other Museum, Wilson 1990

Answer 6

A commentary on how natural history museums are an ideological ritual of colonialism. And how labels have helped sanctified and justified the stealing from cultures and is now ingrained in OUR culture. Displayed many pieces.
POS FEEDBACK

Question 6

Period/Antique Room (Rooms with a view), Wilson 1989

Answer 6

Filled with works that are considered “worthy” of being antiques/classics so they can stand on their own. They were from wealthy white europeans

Question 7

Artworks of “Other Museum”, Wilson 1990

Answer 7

The African masks displayed had other masks with the french and english flags to show colonialism.
Migratory extinct birds were labelled with native tribes as a reference to how many natives were forced toe migrate/leave from their homes due to colonialism.

Question 8

Primitivism: High and Low, Wilson 1991

Answer 8

Wilson redisplayed and combined two shows. He uses these pieces to comment on how to other cultures seen as “primitive” in art and social darwinism (“strong” cultures are a able to absorb other cultures). 4 of these works were of note.
POS FEEDBACK

Question 9

Seal of Power (Primitivism: High and Low), Wilson 1991

Answer 9

A European chair with a Bible on it sitting on African fertility statues. Saying that one culture is built on “primitive” cultures in the name of God.

Question 10

Friendly Natives: Someone’s Sister-Someone’s Mother (Primitivism: High and Low), Wilson 1991

Answer 10

Points out how white cultures treat other “lesser” cultures. Especially in anthropology as it is the studies of non-white cultures. The labels were given names and titles like mother and sister, to humnize them unlike how most “specimens” labelled.

Question 11

Guarded View (Primitivism: High and Low), Wilson 1991

Answer 11

Four brown mannequins dressed in museum uniforms. Comments on how minorities are often used in museums for tax exemptions but also how they ignore/never display arts from minorities/middle class despite working there. They are there to symbolically guard the fine art idea of art.

Question 12

Picasso/Whose rules? (Primitivism: High and Low), Wilson 1991

Answer 12

A Picasso painting with an african mask on one of the figures depicted. the Cubism movement frequently based their works on African culture (mask) as a symbol for being ‘closer to nature”. They saw african culture as lesser than them so they are “closer to nature”.

Question 13

Highlights, Fraser 1991

Answer 13

Acted as a dosset and memorized an entire sccipt that was awkard, that used transference and brought in discourse that drives the museum (how to regulate the poor/middle class). This showed how museums use dossets to push the middle class to leave with high class culture/beliefs (more sympathetic to them)
POS FEEDBACK

Question 14

Little Frank and his Carp, Fraser 2001

Answer 14

Fraser switches her role and becomes the victim of transference from a dosset. She exaggerates the expected emotions/expressions the dosset gives her and begins to take these transference literally and begins sensually interacting with the artchitecture of the building (the dosset seemed to constantly talk about)
POS FEEDBACK

Question 15

Index II Walls turned sideways:artists confront the justice system, Fraser 2018

Answer 15

Superimposed graphs of Prison populations, art economy, and equity in the 80s. These graphs are showing the Great Acceleration and the 2nd gilded age which showed that museums were tied and used by the upper class.
POS FEEDBACK

Question 16

Meter of Jungle, Dion 1992

Answer 16

Recreated an explorers, William Beebe, scientific survey of the Brazillian jungle, and showed the competitive push to discover new species.
NEG FEEDBACK because Dion never addresses how explorers like Beebe colonized (studied) the brazillian jungle, how his “critique” on the instituion never actually addresses colonialism, or how he intended the site of this work was to be on sacred land but was stopped.

Question 17

Wheelbarrow of Progress, Dion 1990

Answer 17

Three wheelbarrows with plants, tools, and stuffed animals that was evocative of Noah’s Arc. “Survival of the cutest” challenged the emphasis on how larger “cute” animals were primary targets for preservation instead of the enitre ecosystem.

Question 18

Com. McBrag Taxonomist, Dion 1989

Answer 18

Recreated a of naturalists (adventurer n explorers) desks. It had symbols about extinction and science is about things that used to/are going to exist. Dion hoped that this would create an urgency for conservation.
NEG FEEDBACK because he never addresses why this extinction is occuring

Question 19

Ext, Din, Dis, Deep Time DT, Dion 1991

Answer 19

A combination of Baron Cuvier and Mickey Mouse, with Mickey dresses as a scientist that discussed Cuvier’s theories of evolution and extintion. This was made to raise awareness of cuvier’s work.
NEG FEEDBACK because they perpetuate/glorify the sexism and racism of both their works and is never acknowleged

Question 20

Polar Bears & Toucans Amazonas to Svalbard, Dion 1991

Answer 20

A mounted young polar bear sitting on a crate filled with Toucans. A supposed humourous piece due to its distinction though the true meaning of the work is unknown (poaching, displacement, environment degradation)
NEG FEEDBACK

Question 21

Ursus Maritimus (Polar Bear), Dion 1994

Answer 21

A mounted polar bear on a crate with the intention of challenging nature as a social construct (ecology, and biology).
NEG FEEDBACK because he admits in a journal that Goat skin is a good replacement for polar bears suggesting that animals without protective statuses are fair games (a social construct).

Question 22

Deep Weather, Ursula Biemann 2013

Answer 22

A documentary like 9 minute video that showed Tar treatment that heavily uses chemicals before being transported to Alaska and then it showed Bangladesh citizens stabilizing their shores daily with sandbags because of climate change
POS FEEDBACK because it shows the connection that the fossil fuel industry’s impact on the environment with sacriface zones and climate change

Question 23

License to Spill, Liberate Tate 2010

Answer 23

At the Tate Museum where they were celebrating 20 years of support from BP. Spilled “oil” inside and out and discarded the fake oil cans (covered with oil) placed on the sidewalk.
POS FEEDBACK as they call out the board of directors and their ties to climate change

Question 24

Human cost, Liberate Tate 2012

Answer 24

Performance art where they poured “oil” on a naked member on the ground. Done on the anniversary of the Deepwater Horizon Explosion
POS FEEDBACK because they are calling out the museums ties to BP and the board memeber who was the CEO of BP

Question 25

Natural History Booth (1741), NHM.org 2015

Answer 25

A reenactment of a show from the National Museum in New York about how climate change is going to solved with technology. skeletons suggested that the humans will be the 6th extinction. Board of director Koch(?) and how his company destroyed nature

Question 26

Hare Woman, Beuys 1950s

Answer 26

Hares are common in Beuys works as they are symbolic for movement, action, and incarnation. The Hare/woman figure may suggesting the symbolization of incarnation.

Question 27

Bat, Beuys 1950s

Answer 27

Believed in animism, energies in certain materials such as honey and fat. But due to our disconnection from nature and our investment in technology we are unable to feel these energies. But if you feel these energies you might be able to change/transform. Beuys believed his art as an access point for these energies

Question 28

Untitled, Beuys 1950s

Answer 28

An insect’s thorax evolving into a human woman. This references to Beuys belief that women are much more connected to nature than men.
NEG FEEDBACK because Beuys beliefs is that men are farther from nature because they are more advanced/evolved than women

Question 29

Fat Corner (Fettecke), Beuys 1960s

Answer 29

Five kilos of butter placed in the corner of Beuys’ office 2 meters below the cieling. Beuys believes in the energies of fat because when he was injured as a fighter pilot in WWII he was warmed by a Tatar tribe member. Fat is often used a symbol of healing and regeneration as a result of this. Though the story is fictional.
NEG FEEDBACK as this art was supposed to how art has evolved into a business without directly callout out the problem

Question 30

From the Life of Bees, Beuys 1960s

Answer 30

A drawing. Saw bees as a symbol of socialism with how they lived and worked together. Later he became more fascinated with honey.
NEG FEEDBACK

Question 31

Artist/Felt suit, Beuys 1960s

Answer 31

A suit made of felt and had lengthened arms and legs that was worn and displayed in many projects. An extension of the sculptures he made with felt. The warmth of the suit means “a spiritual warmth or the beginning of a evolution”.
NEG FEEDBACK as this art was supposed to show how art has evolved into a business without directly callout out the problem

Question 32

Direct Democracy/doc 5-100 days at the office, Beuys 1972

Answer 32

At the Bureau for Direct Democracy where he opened his office for the public for 100 days. He had debates with visitors on politics/artistic/social issues. Most notably on the last day he had a boxing match with a student.
POS? FEEDBACK while it brought attention to the organization but began to lose itself when the boxing match began

Question 33

I like America & America Likes me, Beuys 1974

Answer 33

Beuys stayed at a gallery isolated with a coyote for 3 days for 8 hours each. He tried forming a connection with the coyote by throwing leather gloves, waving his cane, presenting himself as a shepard and copied the coyote’s actions. Beuys wanted to point out the difference between native and european intelligence. While natives saw coyotes a clever and often in trickery they also help humans with their survival while europeans settlers saw them as a burden. Beuys saw the coyote as a representation of America’s spirit and he believed Americans need to face the coyote to heal their trauma.
NEG POSITIVE Beuys perpetuates the mysitcal shaman stereotype of native americans romanticizing or even appropriating this culture (taking from it)

Question 34

Operation Grassello, Beuys 1977

Answer 34

Beuys shipped grass/fertilizers from italy to his office and coated his office’s wall with it and put the rest in storage. Bought so much so it wouldn’t pollute the water. An attempt to challenging the capatilism

Question 35

Honey Pump at the Workplace, Beuys 1977

Answer 35

Honey was circulating at the workplace or where discussions was held to energieze the people also as a symbol of bee hives being similiar to society.
NEG FEEDBACK because the honey was constantly pumped throughout these workshops as if it was an unlimited source and it never considered the waste the pump would’ve created.

Question 36

Lightening in the Glare of the stag, Beuys 1983

Answer 36

a bronze casted piece that shared similiar shapes as his other works. The stag represents as a conductor and the piece overall represents his tranformation/resurrection into a christ like figure

Question 37

In Defence of Nature, Beuys 1983

Answer 37

Opened a winery where Beuys combines art and capitalism where if you buy his wine you are receiving his blood (catholicism) and support his christain values.
NEG FEEDBACK despite Beuys speaking out against the impact capitalism has on art he still allowed it to have a precense in his work

Question 38

BONAQUA Condensation Cube, Greenfort 2005

Answer 38

A recreation of Haacke’s Condensation Cube filled with BONAQUA water on top of a coca-cola shipping crate. The Coke company, which owns Bonaqua, drained foreign lands water for their business and drained it so much that the people had to depend on privatised bottled water.
POS FEEDBACK calls out the privitation and capitalism of water

Question 39

Romerquelle Condensation cube: After Hans Haacke, Greenfort 2007

Answer 39

A recreation of Haacke’s Condensation cube but the water in the cube is an expensive brand of water.
POS FEEDBACK because it deconstructs Haacke’s orignal work as Greenfort points out how the water in the cube is capitalistic and priviatized

Question 40

1 Kilo PET, Greenfort 2008

Answer 40

A part of the Linear Reflections gallery, it is a plastic bottle formed by Greenfort rotating it till the bottle is signifcantly smaller (volume). It had a sign by the bottle that recyclable bottles are harmful to the environment because of the wasted resources used to make them.
POS FEEDBACK educates the viewer of the effect of plastic bottles to the environment and the limited blue/green water resources

Question 41

Exceeding 2 Degrees, Greenfort 2007

Answer 41

During an art exhibition the museum had the temperature 2 degrees higher than safe for art pieces to save money. Another homage to Haacke’s work (Recording of climate in art exhibition) its about how external forces effect arts, like how the device Greenfort displayed keeps the art in pristine condition. Greenfort raised 2 degrees in his hotel and donated the money saved to save ecudorian rainforests as a reference to how companies are rewarded for not cutting trees while continuing their pollution
POS FEEDBACK

Question 42

Disperse Entry/ Diffuse Eintrage, Greenfort 2007

Answer 42

Based on Haacke’s “Rhine-Water Purification Plant” but considers what would happen if public institutions solve the problems they caused. There was a lake that was over saturated with sulfate from run off and the city decided to intoduce iron chloride to reduce the algae. So Greenfort made an artistic reanactment of the city proposal but poured the iron chloride in a Manure spreader vehicle.
POS FEEDBACK because it points out how the city is not addressing the cause of the over abundance of the sulfate and he himself pointed to the reason why

Question 43

Consider Tiza (Chalk), Allora & Calzadilla 2002

Answer 43

Large pieces of chalk and chalk was passed to viewers at Lima, the capital of Puerto Rico at a global Biannual. The messages were against the the government and America but the messages were washed away when the police intervened

Question 44

LandMark, Allora & Calzadilla 2004-2011

Answer 44

An art show that discusses the sacriface zones of Puerto Rico caused by the US and how the US stole and claimed Puerto Rican land as their own such as using 2/3rds of the island for weapons testing.

Question 45

LandMark: Footprints, Allora & Calzadilla 2004-2011

Answer 45

Photographs and casted foot prints in sand with messages as a protest against the US Military’s “foot prints”.
POS FEEDBACK amplifies our ecological footprints and the actions and mistreatment of Puerto rican land

Question 46

LandMark: Half Mast/Full Mast, Allora & Calzadilla 2004-2011

Answer 46

a projected slideshow that showed people on poles mimicking a flag throughout the island.

Question 47

LandMark: Underdiscussion, Allora & calzadilla 2004-2011

Answer 47

During a conference that discussed the use of Puerto Rican land after America’s military left they used a overturned conference table with a motor as a boat to point out the absurdity of the situatiion and how rational discussion has gotten nowhere.

Question 48

Solar Catastrophe, Allora & Calzadilla 2016

Answer 48

Composed of shatter pieces of solar cells scattered throughout the canvas in a manner that is similiar to abstract expressionism.
POS FEEDBACK it points out the harm solar panels cause in their production (mining and shipping) and how abstract expressionism attracts neg feedbacks as everything not on the canvas is externalized (like capitalism)

Question 49

Manifest, Allora & Calzadilla 2017

Answer 49

A sunken ship engines covered in guano(fertilizer) that represented the exploitation of South America (and later Africa) because of Guano. This shows that capitalism led to a carcer cycle of phosphorus which can create dead zones in water and bring undocumented diseases
POS FEEDBACK

Question 50

Little Hope (Pequena Esperanza), Capellano 1994

Answer 50

a dimly lit room that had men’s underwear in circles. This calls out the systematic rape of boys in Dominican dentention centers
POS FEEDBACK

Question 51

Mar Caribe–Caribbean Sea, Capellano 1996

Answer 51

Hundreds of flip flops organized in the appearance of the sea or fish scales. The flip flops were found from the shores of a shanty town in the Dominican Republic where they only cleaned the site instead of dealing with it. The flip flops also had barbed wire (a US invention) that represents the American militarization of the territory
POS FEEDBACK