Midterm

Question 1

Answer 1

Marcel Duchamp, Fountain, 1917. Photo by Alfred Stieglitz.

Question 2

Answer 2

Marcel Duchamp or Rrose Sélavy , Boîte‐en‐Valise (Box‐in‐a‐Valise), 1935‐41 (contents); 1938 (collotype); deluxe edition, Series A, 1943

Question 3

Answer 3

Marcel Duchamp, Etant Donnés 1 ̊ la chute d’eau 2 ̊ le gaz d’éclairage (Given: 1. The Waterfall, 2. the Illuminating Gas), 1946‐1966

Question 4

Answer 4

Eduardo Paolozzi. Real Gold, from 10 Collages from BUNK, 1950.

Question 5

Answer 5

Richard Hamilton. Just what is it that makes today’s homes so different, so appealing?, 1956.

Question 6

Answer 6

Robert Rauschenberg, Bed, 1955. Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports. (Combine)

Question 7

Answer 7

Jasper Johns, Flag, 1954. Encaustic oil and collage on fabric mounted on plywood.

Question 8

Answer 8

Andy Warhol, Marilyn x 100, 1962. Screenprint ink and synthetic polymer paint on canvas, 81 x 223 1⁄2 in.

Question 9

Answer 9

Andy Warhol, Jackie (The Week That Was).
1964. Silkscreen ink on synthetic polymer paint on canvas; sixteen 16 X 20” panels, 64 X 80” overall.

Question 10

Answer 10

Andy Warhol. Cover of Flash‐ November 22, 1963. 1968. Silkscreen on fabric over cardboard

Question 11

Answer 11

Andy Warhol. 1947 White, 1963. Silkscreen ink and graphite on linen, 121 x 78 in.

Question 12

Answer 12

Roy Lichtenstein, Whaam!, 1963

Question 13

Answer 13

Roy Lichtenstein. Drowning Girl, 1963. Oil and Synthetic Polymer Paint on Canvas.

Question 14

Answer 14

James Rosenquist. White Cigarette, 1961. Oil on canvas, 60 1⁄2 x 35 3⁄4 in.

Question 15

Answer 15

James Rosenquist. F‐111, 1964‐65. Oil on canvas with aluminum, twenty‐three sections, 10 x 86 feet.

Question 16

Answer 16

Tom Wesselmann, Still Life #12, 1962. Acrylic and collage on fabric, 4 x 4 feet.

Question 17

Answer 17

Tom Wesselmann. Great American Nude #57, 1964. Synthtic polymer and paper collage on composition board, 4 feet x 5 feet 5 inches.

Question 18

Answer 18

Claes Oldenburg, The Store, Ray Gun Mffg. Co., 107 East 2nd Street, 1961. Mixed media environment

Question 19

Answer 19

Clase Oldenburg. Free Stamp, 1991

Question 20

Answer 20

H. C. (Horace Clifford) Westermann. Brinkmanship, 1958. Wood and Metal. 23 1⁄4 x 24 x 19 3/8 inches.

Question 21

Answer 21

Peter Saul. Typical Saigon, 1968. Oil, enamel, and acrylic on canvas. 7 ft 9 in x 12 ft

Question 22

Answer 22

Edward Kienholz, The Beanery, 1965

Question 23

Answer 23

Edward Kienholz, State Hospital, 1966 (interior)

Question 24

Answer 24

Robert Arneson. John with Art, 1964. Stoneware with glaze.

Question 25

Answer 25

Robert Arneson. *Moscone Bust*, 1981.

Question 26

Answer 26

Frank Stella. *The Marriage of Reason and Squalor*, 1959. Enamel on canvas.

Question 27

Answer 27

Frank Stella. *Hetra I*, 1967. Acrylic on canvas.

Question 28

Answer 28

Donald Judd. *Untitled*, 1967. Galvanized iron with green lacquer on front and sides.

Question 29

Answer 29

Tony Smith. *Die*, 1962. Steel, 6 X 6 X 6 ft.

Question 30

Answer 30

Carl Andre. *Steel Magnesium Plain*, 1969. Thirty‐six units, 12 x 12 in each, 6 x 6 ft overall.

Question 31

Answer 31

Carl Andre. *Spill*, 1966.

Question 32

Answer 32

Dan Flavin. *Greens Crossing Greens (To Piet Mondrian Who Lacked Green)*, 1966. green fluorescent light.

Question 33

Answer 33

Dan Flavin. *Three Sets Of Tangented Arcs In Daylight And Cool White (To Jenny And Ira Licht)*, 1969.

Question 34

Answer 34

James Turrell. *Meeting*, 1983‐1986.

Question 35

Answer 35

James Turrell. *Roden Crater Project* (aerial view), started 1979, opened to the public in 2011.

Question 36

Answer 36

Sol LeWitt. *Wall/Floor Piece #4*, 1976.

Question 37

Answer 37

Sol LeWitt. *Wall Drawing #1, Drawing Series II 18 A&B*. 1968. Black pencil, drawn directly on the wall of the Paula Copper Gallery, New York.

Question 38

Answer 38

Robert Morris. *Box with the Sound of Its Own Making*, 1961. Walnut and recorded audio tapes (original) and compact disc (reformatted by artist). 46 x 9 3/4 x 10in. (116.8 x 24.8 x 25.4cm); TRT 3.5 hours

Question 39

Answer 39

Robert Morris. *Untitled (“L” Beams)*, 1965 and 1967. Painted Plywood.

Question 40

Answer 40

Richard Serra throwing lead, Castelli Warehouse, New York, 1969. (LEFT) Richard Serra. *Splashing*, 1968. Lead.

Question 41

Answer 41

Richard Serra. *Equal* (Corner Prop Piece), 1969‐70. Lead antinomy. (LEFT) Richard Serra. *Corner Prop*, 1969. Lead antimony.

Question 42

Answer 42

Richard Serra. *Torqued Ellipse*, 2003‐2004. Weathering steel.

Question 43

Answer 43

Eva Hesse. *Expanded Expansion*, 1969. Fiberglass, polyester resin, latex, and cheesecloth, 10 feet 2 inches x 25 feet

Question 44

Answer 44

Eva Hesse. *Untitled (Rope Piece)*, 1970. Latex over rope, string, and wire, two strands.

Question 45

Answer 45

Bruce Nauman. *Self‐Portrait as a Fountain*, 1966. Color photograph, from eleven color photographs of 1970, edition of eight.

Question 46

Answer 46

Bruce Nauman. *Neon Templates of the Left Half of My Body, Taken at Ten‐Inch Intervals,* 1966. Neon tubing on clear glass tubing frame.

Question 47

Answer 47

Bruce Nauman. *The true artist helps the world by revealing mystic truths (Window or Wall Sign)*, 1967. Neon.

Question 48

Answer 48

Joseph Kosuth. *One and Three Hammers (English Version)*, 1965. Hammer, photograph of a hammer, photostat of the definition of hammer.

Question 49

Answer 49

On Kawara. *22 Jan. 1973*, 1973. Liquitex on canvas.

Question 50

Answer 50

Piero Manzoni. *Artist's Shit*, 1961. Series of 90 cans

Question 51

Answer 51

Saburo Murakami. *Passing Through (21 Panels of 42 Papers)*, 1956.

Question 52

Answer 52

Yoko Ono, Performing *Cut Piece* at Carnegie Recital Hall, New York City, March 21, 1965.

Question 53

Answer 53

Joseph Beuys, *How to Explain Pictures to a Dead Hare*, 1965

Question 54

Answer 54

Vito Acconci, *Following Piece*, 1969

Question 55

Answer 55

Vito Acconci. *Seedbed*, 1972.

Question 56

Answer 56

Chris Burden. *Shoot*, 1971.

Question 57

Answer 57

Marina Abramovic. *Rhythm 0* (man at artists' breasts), 1974. (LEFT) Marina Abramovic. *Rhythm 0* (artist holding objects), 1974. (RIGHT)

Question 58

Answer 58

Marina Abramovic and Ulay, *Rest Energy*, 1980. Artists with bow and arrow, duration 4 min. 10 sec

Question 59

Answer 59

Marina Abramović. *The Artist Is Present*, March 14 and May 31, 2010. Museum of Modern Art New York.

Question 60

Answer 60

Hannah Wilke. *S.O.S. Starification Object Series*, 1974.

Question 61

Answer 61

Hannah Wilke. *Through the Large Glass*, 1976

Question 62

Answer 62

Ana Mendieta. *Serie “arbol de la vida” (Tree of Life)*, 1976. Color photograph of earth‐ body work with tree and mud executed at Old Man’s Creek, Iowa City, Iowa.

Question 63

Answer 63

Laurie Anderson. *United States Part I*, 1980, at the Orpheum Theater.

Question 64

Answer 64

Carolee Schneeman. *Interior Scroll*, 1975.

Question 65

Answer 65

Cindy Sherman, *Untitled Film Still #35*, 1978

Question 66

Answer 66

Miriam Schapiro. *Personal Appearance #3*. 1973.

Question 67

Answer 67

Joyce Kozloff, *Mural for Harvard Square*, 1984

Question 68

Answer 68

Vicky Hodgetts, Susan Frazier and Robin Weltsch. Womanhouse: *Nurturant Kitchen*, 1972. ## Footnote The soft skin of a kitchen pink Is openers, strainers, blenders Is cups, pots and hot ovens Is boxes, cans and glass packages Is faucets and nippled knobs A toaster, juicer and waffler All pink skinned How would you like your eggs done This morning? ‐ Robin Weltsch

Question 69

Answer 69

Sandra Orgel. *Womanhouse: Ironing Piece*, 1972.

Question 70

Answer 70

Judy Chicago. *The Dinner Party*, 1974‐1979. Mixed Media, 48 x 42 x 3 ft.

Question 71

Answer 71

Mary Kelly, *Post‐Partum Document: Documentation I Analyzed fecal stains and feeding chart*, 1974.

Question 72

Answer 72

Guerilla Girls, *The Advantages of Being a Woman Artist*, 1988

Question 73

Answer 73

Faith Ringgold. *Tar Beach (Part I from the Woman on a Bridge Series)*. 1988. Acrylic on canvas, bordered with printed, painted, quilted, and pieced cloth, 74 5/8 × 68 1/2”.

Question 74

Answer 74

Betye Saar. *The Liberation of Aunt Jemima*. 1972. 11 3/4 × 11 7/8 × 2 3/4”.