Test 2 Flashcards
1
Q
A
Murder in Hells Kitchen
1942
Weegee
- Specialized in crime and scandal photos
- he sold his photographs to many tabloid newspapers
- was the only photojournalist with a police shortwave radio
- the camera had preset features including f-stop and shutter speed as well as focal length
2
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A
Tenement Penthouse
1940
Weegee
- he developed all his photos in the back of his car to be ready to be printed by tabloid newpapers the next day
3
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A
Lower East Side
1942
Lisette Model
- became a photographer almost by accident
- She taught once she moved to the united states
- the photographs that were displayed all came from a short period of time
4
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A
Sailor and Girl, Sammy’s Bar
1940
Lisette Model
- The photographs are not elegantly printed, in a sense like weegees
5
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A
Masked Kids, Brownstone
1945
Helen Levitt
6
Q
A
Brooklyn
1940
Helen Levitt
7
Q
A
New York
1942
Helen Levitt
8
Q
A
Living dead of Buchenwald
1945
Margret Bourke-White
9
Q
A
Head of a Hostage
1944
Jean Fautrier
- ought in the war and was forced to hide out in the forests of france
- where he hid was an execution ground so he saw the sights and heard the sounds of his fellow frenchmen being murdered
- both fautrier and Debuffet’s work was displayed after the germans occupation was over
10
Q
A
Childbirth
1944
Jean Debuffet
- Very highly educated
- be went into business and ran a wine import and export business
- he read a lot about art and liked art but the war pushed him towards the visual arts.
- built up an oat pot (thick surface )
11
Q
A
Butcher’s Slab
1950
Jean Debuffet
- its looks as though the women are flayed out and there skin is peeled of like hanging the hide of an animal
- very sexual in a deliberatly vulgar way
- he liked to cut into the surface, leaving it uneven and child like drawing
12
Q
A
Le Metafisyx
1950
Jean Debuffet
- we as individuals attempt to define our lives (existentialism) but he believed it is a hopeless struggle and that we will all die. Ultimately we become dust
13
Q
A
Setting Snares
1963
Jean Dubuffet
- he doodled with a ball point pen and the never ended ink let to psychotic lines and then began to use acrylic to mimic the style
- the pattern continues on in a endless way suggesting a psychotic mind
14
Q
A
Homage to the Square Acending
1953
Josef Albers
- had a set of ratios determining where each square was
- used color theory to come up with ratios
- you should never decide your color based on your preference and you should have a standoffish and natural attitude towards the color
15
Q
A
White Painting
1951
Robert Rauschenberg
- This painting is meant to be an exploration of light and shadow captured in real time on the image.
- He believed to leave personal ideas out of his works and even had this repanted white by other artist to perserve its intense white color but to also distance himself personaly from the work
16
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A
Red
1953
Robert Rauschenberg
- oil, newsprint, fabric, wood
- may possibly be different image but will look very similar to this
17
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A
Charlene
1954
Robert Rauschenberg
- made of all sorts of materials and objects and items to create a collage
- the work has a kind of nostalgia behind it
- one of his only works in which included a personal touch, the photos on the middle bottom right that are a collage of his personal family photos
18
Q
A
Small Rebus
1956
Robert Rauschenberg
- gave himself one week to find the objects and they came from there studio and the neighborhood
- he even found the paint
- the color was pedestrian
- loosely divided into 3 sections.
19
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A
Bed
1955
Robert Rauschenberg
- he ran out of canvas so used his bed to complete the work
- the quilt is very americana and closely related to and albers square painting
20
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A
Monogram
1959
Robert Rauschenberg
- he combines painting and sculpture and in a sense art and non art
21
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A
Canyon
1959
Robert Rauschenberg
- the objects are left full size
- he uses the idea of collage in a different way from the earlier contemporary artists
22
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A
Coca-Cola Plan
1958
Robert Rauschenberg
- very americana and shows american dominance
23
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A
Pelican
1963
Robert Rauschenberg
- alowed his own awkwardness at dancing to be part of the work
- danced around in roller-skates
- the dance was improvised
- danced to a collage of sounds
24
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A
Skyway
1964
Robert Rauschenberg
- he has taken current events and figures from books and magazines and combined them with art historical references
- used a silkscreening technique
25
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A
Buffalo
1964
Robert Rauschenberg
- he is suggesting the glance of the city with sharp and fading images
- a lot of visual noise, everything competing for our attention at once
26
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A
Booster
1971
Robert Rauschenberg
- Color Litho
- Had his own body xrayed and then used the prints of his insides to create the collage
27
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A
Snapshot from the City
1960
Oldenburg
28
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A
The street, instilation at Ruben Gallery
1960
Oldenburg
- used all found objects to make installations
- did the performances himself many of the times
- puts on little vignettes
- invented and alter ego called Raygun
- raygun became the character he was an alter ego as the main focus or becomes a piece in the background
- He is sinister but also like a comic strip
- founds raygun manufacturing company
29
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A
The store, at raygun manufacturing co,
1961
Oldenburg
- while working as a dishwasher he got the idea to use food as a motif for his next work
- he filled the space with life-size replicas of things you find in stores
- the pieces were made by taking pieces of cloth and soaking in wet plaster than formed over chicken wire
- used enamel house paints to paint the objects
30
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A
Giant wedge of Pecan Pie
1963
Oldenburg
- He moved towards pop art during this time and he did things on a disney type style with a cartoonish sizes
31
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A
Soft Light Switch
1963
Oldenburg
- changed up his style with much of his stuff by sewing and stuffing then painting instead of plaster
- these shapes are softer and floppy
- he relied upon professionals to get the sculpture the way he wanted like seamstresses and cutters
- this new way of soft sculpture but with beautiful lines
- canvas kapok
32
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A
Soft Typewriter
1963
Oldenburg
- you can read this as the human face
- anopromorphic
- likes sexual jokes and puns
- the machines seem to come alive and take on personalities
33
Q
A
3-way Plug
1970
Oldenburg
- Leather and wood
- plays with sexuality and ageing bodies
34
Q
A
3-way Plug
1970
Oldenburg
- cherry wood
- again plays with sexuality
35
Q
A
Bedroom Ensemble
1963
Oldenburg
- Inspired by a cheep motel
- the rooms of the motel were themed by different animals
- on the wall there is a jackson polik painting
36
Q
A
Giant Ice Bag
1970
Oldenburg
- begain to introduce real mocement into sculpture not just the illusion of it
- the ice bag inflates and deflates and flops around
37
Q
A
Lipstick Ascending on Caterpillar Track
1969
Oldenburg
- satirical but also meant as a protest monument
38
Q
A
Scissors in Motion
1967
Oldenburg
- proposed to replace the washington monument
- as the current washington monument seems phalic and errect he wanted to make the monument seem castrating
39
Q
A
Clothespin
1976
Oldenburg
- making fun of old scuplter and mocks the traditions of sculpture of generals
- also can be seen as two people kissing like brancusi, the kiss
- taken out of natural context and scaled up
- also a verbal pun
- in philidalphia
- cor-ten steel
40
Q
A
The Diner
1964-1966
George Segal
- His first pieces were done with chicken wire and plaster
- he would do it in fragments and put them together
- often would do the body as one piece
- very unpleasant to pose for this as the plaster heats up
- he would have to take a saw and cut through the plaster
- using his method he could get really slumps and motion because with the heavy plater the model needed to be in a comfortable position
- he layers it in a deliberate rough and rich texture catching light
- all the objects he used were found in various flee markets and thrift stores
41
Q
A
The Gas station
1963
George Segal
- using his method he could get really slumps and motion because with the heavy plater the model needed to be in a comfortable position
- he layers it in a deliberate rough and rich texture catching light
- all the objects he used were found in various flee markets and thrift stores
42
Q
A
The Execution
1967
George Segal
- segals sculpture have a very strong mood to them while oldenburgs do not
- Segals strong mood can be seen in the slight sadness of the sculpture
43
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A
The Holocaust
1982
George Segal
44
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A
Bread Line
1991
George Segal
45
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A
Backstreet Dodge ‘38
1964
Edward Kienholz
- couple making love in the backseat
- kids where not aloud into this show and could not see this sculpture
46
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A
The State Hospital
1966
Edward Kienholz
- very original but very sad
- could be the figure below is dreaming of the figure above with the way the speech bubble is placed
47
Q
A
The Wait
1964-65
Edward Kienzhol
- this is an old woman waiting to die
- she is surrounded by her favorite memories
- the firgure looks sickly and deflated with a younger portrait of herself as her face
- Kienzhol known for political comentary
48
Q
A
Just what is it that makes todays homes so different, so appealing?
1956
Richard Hamilton
- this was the front of the book for the show and also the poster for the show
- all the imagery is borrowed from mass consumer culture in a intricate collage with an ironic title
- canned ham becomes a sculpture on the table with a comic strip on the wall
- lots of visual and verbal jokes and puns
- beautifully designed, good balance from around the corner of the back of the room
50
Q
A
Swinging London
1967
Richard Hamilton
- Collage describing the arrest of the rolling stones
51
Q
A
Set of 6 Self-portraits
1967
Andy Worhol
- conflict between Warhol and established artists
- a photograph that is then silk screened
- has a more restricted palette but he used the brilliant colors to give a neon and electric feel
- not a traditional self portraits as most are half length and this is a fragmented head seen very close up and totally un revealing
- the fingers and hand feels like a thinker but the fingers show some concealment
- often wore a platinum white wig
52
Q
A
Coco-Cola
1962
Andy Worhol
53
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A
200 Campbel Soup Cans
1962
Andy Warhol
- art had been so serious and this seems trivial in a way
- because of the monotony the smallest difference in the painting stands out
- small variations in the types of soup
- refers back to Picasso
- inturpreted this as a negative painting about the glutany of american consumerism. but he corrected the critics that he likes Campbell’s and almost a celebration of the modern lunch
- visual pun of still life of the old still lifes of food
54
Q
A
Marilyn Diptych
1962
Andy Warhol
- two panels
- one with pop colors and one with neutral blacks
- she was a symbol of america as well as a tragic person
- at what point does the repetition of imagery make it monotonous
- was done shortly after her death
55
Q
A
Orange Disaster
1963
Andy Warhol
- you can see the influence of weegee
- still horrific to look at
56
Q
A
Electric chair
1964
Andy Warhol
57
Q
A
16 Jackies
1964
Andy Warhol
- done right after the assassination
- moves from image at the top before to before the assassination down to moments and events afterwards but then back to an image before that
58
Q
A
Brillo Box
1964
Andy warhol
- synthetic polymer and silkscreen on wood
- there is a lot of brilliant color but very flat because of the technique used to apply
59
Q
A
Empire
1964
Andy Warhol
- film
- you become aware of the ambient atmosphere and change the lighting
- if you watch the whole thing you get dawn breaking and night coming
- 24 hour video
60
Q
A
Cow Wallpaper
1966
Andy Warhol
61
Q
A
Untitled
1964
James Rosenquist
- profesional bilboard painter
- gave it up after friend was killed on a scaffolding
62
Q
A
F-111
1965
James Rosenquist
- oil and aluminum
- the image of the plane is the f-111, the most costly plane ever built at the time and a complete failiure as it did not work making it slightly scandolous
63
Q
A
Whaam
1962-65
Roy Lichtenstein
- painted in a painterly way until his son asked him to paint micky mouse and when he did he realized he could us the comic strip style to give commentary on modern art
- he by hand repaired the little dots and painstakingly painted
- done in oil
- the image seems to explode beyond the plane, the letters and speech bubbles share contour lines with the background lines, quoting and appropriating cezans device
- strict formalism about the design
- this isn’t something you slowly contemplate, meant to have immediate impact
64
Q
A
Drowning Girl
1963
Roy Lichtenstein
66
Q
A
The Marriage of Reason and squalor
1959
Frank Stella
- the black spaces are 3 inches wide which is how deep the canvas supports are
- initially like this these were free hand to give him his boxes then he painted the straps
- done very carefully
- the impact is quick and immediate but slowly painted
- flat and absorbant of light but some parts are also shiny and reflects light
- slight simmering and quivering quality too it
- what you see is what you see
- early paintings called the black paintings
- he was one of the youngest artist and burst onto the scene in 1959
- he made an incredible sensation because his art was so different than anything else
67
Q
A
Mountains and Sea
1952
Helen Frankenthaler
- has similarities to the new york school but cooler, more painterly that stella
- diluted her oils to almost be watercolors
- she let the painting happen while she worked
- and let the color guide her hand
- the color literally soak into the painting
- you can always seen the painting even through the shapes using the natural we’ve unifies the piece
- the canvas also creates lighting
- she puddles the paint in certain places and they have an open expansive painting
68
Q
A
Ileana Sonnabend
1963
Frank Stella
69
Q
A
Empress of India
1965
Frank Stella
- he used a grid and straight edge to draw his lines
- he introduces color when he used to be monochromatic and mono tonal
- the colors are in closely matched values
- joined with these activated angular edges
70
Q
A
Firuzabad
1970
Frank Stella
- very interested in patterning
- part of his protractor series
- got inspiration from Poluk and his pattering
- rich coloring and inspired by matice and illuminations of persian world
71
Q
A
Tet
1958
Morris Louis
- used a new synthetic paint called magna
- part of the second generation of the new york school
- he used raw canvas so it would absorb the color evenly and create this optical image
- he would hang his canvas then pour his pigments
- he doesn’t toch the canvas at all in the sense of brushing but he would tilt the canvas to attempted to control its directions
72
Q
A
Untitled
Donald Judd
Untitled 1967
- wanted his sculptures to be grasped quickly
- usually one single object in a series
- indivisible of color and shape
- while others shy away from color, judds loves of color seeps into his minimalistic sculpture
- have no base or pedestal but when you stand in front of them they do not float
- industrial made as well as color application
73
Q
A
Early One Morning
Anthony Caro
1962
- painted aluminum and steel
- a sense of freedom and openess about them
- exilerating upward movement in his horizontal pieces
- related more to drawing and painting than sculpture
- pre fabricated pre ordered, industrial finished
- one single color
74
Q
A
Die
1962
Tony Smith
- he ordered this sculpture over the telephone
- corten steel
- a sense of space
- designed to be very assertive and make you aware of it
- he thought of it as being stonhenge that would rust and have a sense of history
75
Q
A
I-Box
Early 1960
Robert Morris
- he wanted to purify sculpture and take out everything extraneous
76
Q
A
L-Beams
1967
Robert Morris
- he wanted simple polyhedrons
- used them in a modular arrangement
77
Q
A
Che Faro
1960s
Mark di Suvero
- he is an american but born in china
78
Q
A
Felt
1967
Morris
- The final form is determined entirely by gravity
79
Q
A
Trabum
Carl Andre
1960 plan
1977 construction
80
Q
A
Sixth Copper Square
2007
Carl Andre
81
Q
A
Pink out of a Corner
1963
Dan Flavin
- interested in duchamp
- taking a commercialized item and turn it into art
82
Q
A
Afrum I
1967
James Turrell
