Postmodernism Flashcards
Phillip Johnson, AT&T Headquarters, 1984 (NYC)
expressive, pluralistic principles, eclectic mix of historical references in vernacular (every day)
mimics International Style w/ uncluttered skin, volume over mass, use of lightweight, industrial materials, flat surfaces, repetitive modular forms, but asymmetrical
broken pediment and conflates shape of skyscraper with dresser and payphone= pastiche- incongruent elements brought together to serve new function as building
pun on “highboy” (Chippendale highboy dresser) and “high rise”; broken pediment and top of dresser also look like coin slot of payphone
Judy Chicago, The Dinner Party, 1979
Feminist Art- reflection & condition of artist as woman
originally intended as female inversion of Last Supper (13 in witches’ coven vs. “good” Christian tradition), reflecting art historical polarized view of women as good, dutiful mother, or evil, sex-crazed devil
expanded to 29 settings in triangle, 48 feet on each side; tile floor with additional 999 names
materials (quilting, ceramics, decorative arts), associated w/ women as artisans as opposed to “male” high art
emphasis not on individual creator, but collective (400 workers assisted)
each place setting- dish with vaginal/vulval arrangement- emphasis on biological uniqueness of women
designed to be off-putting to repulse male audience and regain control of how female body viewed (traditionally de-sexed in art)
Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981
converts language of advertising, with cheap, familiar red, black, white color scheme, w/ dramatic photos & strong, declarative slogans- to language of art
showing how discrimination happens/defining systems of female opression (Second Feminist Wave vs. Judy Chicago’s 1st Wave recognition of accomplishments); question gender construction, male gaze
photography ideal medium for Post Modernism- never fully “high art,”- impersonal, easily reproduced- PM rejects originality/mastery as “Modernist”/”Patriarchal”
cuts out words, puts on profile of classically beautiful bust; artfulness in concept (Kosuth) not medium
classical beauty- reveals process of objectification, how male gaze works, viewer forced to look up and down to read words like man scrutinizing female body
Lorna Simpson, Stereo Styles, 1988
photographer interested in issues of gender, race, sex from African American woman’s perspective
photos taken from back with different hairstyles, adjectives in middle; shows how without seeing someone’s face can stereotype based on skin color, gender, and with hairstyles in AA’s- especially class
move from recognition of racism in art to defining systems of stereotyping & underlying mechanisms
photography best suited to neutralized presentation- obscures artist’s hand- adds freshness, clarity, immediacy
Andres Serrano, Piss Christ, 1989
crucifix suspended in vitrine of artist’s urine and blood
asks us to confront the physicality of the death of the body of Christ, which is often forgotten
critiques commercialization of Christ’s image in media
attacked in 2011 and destroyed by Catholic demonstrators in France, 3 guards assaulted
sparked controversy over public funding of art projects-NEA, Serrano’s work was result of organizational grant, culture wars, like Mapplethorpe’s Larry and Bobby Kissing
Helen Frankenthaler denying funding to controversial artists
Damien Hirst, Mother and Child Divided, 1993
Young British Artists (YBAs) group- so controversial mayor of NYC threatened to shutter museum
forces viewer to confront physical realty of death and difficulty in imagining your own
dead animals as subjects suspended in formaldehyde in vitrines; cow and calf bisected longitudinally and in separate vitrines, separated from self and each other
viewer encouraged to walk between; caught between scientific presentation and disturbing emotions
forced to confront actuality of death; bones, muscles, organs- like them, we will die too
