Visual Analysis Flashcards
From Amalia Ullman, Excellences and Perfections, 2014.
Ray Barrie, Master/Pieces, 1981
Mary Kelly, Interim, Part 1: Corpus, 1984
Victor Burgin, Gravida, 1982
Yve Lomax, Open Rings and Partial Lines, 1983-4.
Silvia Kolbowski, Model Pleasure, Part 8, 1984
Silvia Kolbowski, Model Pleasure, Part 8, 1984
Mary Kelly, Post Partum Document, 1973-9, Documentation I: Analysed Fecal Stains and Feeding Charts
Mary Kelly, Post Partum Document, 1973-9, Introduction, 1973
Mary Kelly, Post Partum Document, 1973-9, Documentation VI: Pre-writing Alphabet, Exergue and Diary, 1978
Installation of Marie Yates, The Missing Woman: Phase II, 1984. Difference: On Representation and Sexuality.
Detail of Marie Yates, The Missing Woman, Phase II, 1984.
Detail of Marie Yates, The Missing Woman, Phase II, 1984.
Detail of Marie Yates, The Missing Woman, Phase II, 1984.
Detail of Marie Yates, The Missing Woman, Phase II, 1984.
Sherrie Levine, Fountain (After Marcel Duchamp), 1991
Sherrie Levine, After Egon Schiele, 1982
Sherrie Levine, After Egon Schiele, 1982. Seven gelatin silver and eleven chromogenic prints; edition two of two, 35.6 x 27.9 cm (14 x 11 in.), each, unframed; 175.26 x 307.34 cm (69 x 121 in.), installed.
Sherrie Levine, After Piet Mondrian, 1984 watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.).
Sherrie Levine, After Joan Miro, 1984, watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.)
Sherrie Levine, After Egon Schiele, 1984 watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.)
Sherrie Levine, After Fernand Leger, 1985 watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.)
Sherry Levine, After Walker Evans: 4, 1981
Sherrie Levine, Six Pictures, After Franz Marc, 1982. Installation view of six lithograph prints.
Louise Lawler, Why Pictures Now, 1981. Black & white photography, 7.6 × 15.2 cm
Louise Lawler, Untitled, 1978. Artists Space, New York.
Louise Lawler, Pollock and Tureen, arranged by Mr and Mrs Burton Tremain, Connecticut, 1984. Cibachrome, 16 x 20 inches (40.6 x 50.8 cm)
Barbara Kruger Untitled (You thrive on mistaken identity), 1981. Gelatin silver print.
Barbara Kruger Untitled (30th and Crescent Street Queens, NY 100), 48”x70”. Posters installed in bus shelters throughout New York City February - April 1991 Public Art Fund
Barbara Kruger, Untitled (You Are Not Yourself), 1980
Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1980–1.
Cover of Resistance (AntiBaudrillard), 1987
Installation view of Group Material, Resistance (Anti-Baudrillard), 1987. White Columns, New York.
R. Jenny Holzer, Truisms poster, 1977–9 and L. Truisms poster in situ in New York, c.1977.
Jenny Holzer, Inflammatory Essays, 1979–82
Jenny Holzer, Messages to the Public, March 1982, Times Square, New York
Jenny Holzer, Untitled (Protect Me From What I Want), 1983–85. Packaged latex condoms, with printed text
Jenny Holzer, Untitled (With All the Holes…) from the Survival Series, 1983–5
Jenny Holzer, You Are My Own, projection, Florence, 1996
Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978-1979
Press materials made for the release of Looking for Langston, 1989.
Isaac Julien, still from Looking for Langston, 1989
Stills from the archival sequences in Isaac Julien, dir., Looking for Langston, 1989.
Still from Isaac Julien, Looking for Langston, 1989. 16 mm, Black and White, Sound, 1 hour.
George Platt Lynes. ‘Untitled [Charles ‘Tex’ Smutney and Charles ‘Buddy’ Stanley] , c.1942.
George Platt Lynes, Leaphart McCarthy
Stills from the Mapplethorpe sequence in Isaac Julien, dir., Looking for Langston, 1989.
Two stills from documentation of Mona Hatoum, Roadworks, 1985. Video, colour, 6’45. Brixton Art Gallery, London.
Still from Measures of Distance by Mona Hatoum, 1988. Video, projection, colour and sound (mono), Tate.
Mona Hatoum, Under Siege, sketchbook drawing, 1982.
J. Macpherson, documentation of Mona Hatoum, Under Seige, 1982.
Mona Hatoum, performance documentation of Negotiating Table, 1983.
Mona Hatoum, performance documentation Position Suspended, 1986.
Ryan Rodgers, documentation of Mona Hatoum, Matters of Gravity, 1987 at Kettle’s Yard, Cambridge.
Still from Mona Hatoum, Variation on Discord and Divisions, 1984. Colour video, 40 minutes.
Stills from Mona Hatoum, Variation on Discord and Divisions, 1984. Colour video, 40 minutes.
Mona Hatoum, Light at the End, 1989. Iron frame and six heated elements. Showroom, London.
Cover of Gay Power, vol.1, no.16, 1970
Robert Mapplethorpe, Bull’s Eye, 1970.
Robert Mapplethorpe, Brian Ridley and Lyle Heeter, 1979
Robert Mapplethorpe, Self Portrait with Whip, 1978
Frank Herrera, photograph of The Perfect Moment protest, June 30, 1989, Corcoran Museum, Washington D.C.
Glenn Ligon, Red Portfolio, 1993, detail, suite of nine black-and-white photographs edition of 5 and 1 AP, 50.8 x 40.6 cm.
Gran Fury, Let the Record Show, 1987.
Gran Fury, You’ve Got Blood on Your Hands, 1988, New York.
Gran Fury, AIDS: ! In 61, poster, 1987.
Gran Fury, Kissing Doesn’t Kill, which was part of a public-art project called “Art Against AIDS On the Road” 1989.
General Idea, AIDS (A Project for the Public Art Fund, Inc.), 1989. 4,500 posters placed in the New Yok subway system.
And General Idea, Imagevirus, 1991. Photograph of Project for the Public Art Fund.
Gregg Bordowitz, some Aspects of a Shared Lifestyle, 1986. Video, colour, 22:23.
Still from Testing the Limits New York, Testing the Limits Collective, 1987.
From David Wojnarowicz, Arthur Rimbaud in New York , 1978–79. gelatin silver print, 10” x 8”
From David Wojnarowicz, Arthur Rimbaud in New York , 1978–79. gelatin silver print, 10” x 8”
David Wojnarowicz, Untitled, 1983. Acrylic on supermarket poster, 30x20
David Wojnarowicz, Untitled (Genet after Brassai), 1979/1990. Hand-colored Xerox, 35 x 47 1⁄2 inches.
David Wojnarowicz, Untitled, from Sex Series (For Marion Scemama), 1988-89. From a series of eight gelatin-silver prints, 31” x 34
David Wojnarowicz, untitled , 1991, silkscreen print , 24x29
David Wojnarowicz, untitled , 1993, gelatin silver print , 28.5” x 28.5”.
Janine Antoni, Mom and Dad, 1993
David Wojnarowicz (in collaboration with Phil Zwickler and Rosa von Praunheim) still from the film “Silence = Death” , Untitled, 1990
Sue Williams, Are You Pro-porn or Anti-porn?, 1992, acrylic on canvas
Sue Williams, Are You Pro-porn or Anti-porn?, 1992, acrylic on canvas
Installation view of Pat Lasch’s Roladen, 1993; Madonna and Child, 1993; Birthing My Husband, 1992, in Bad Gils II, The New Museum, 1994.
Rona Pondick, Double Bed, 1989.
Laura Aguilar, Untitled Self Portrait, 1991
Collier Schorr, Untitled (The Purloined Dick), 1995, C-print.
Collier Schorr, Two Shirts, 1998. Cprint.
From, Anna Gaskell, Wonder, 1996. Left Untitled no.2, C print, 127-101.6 cm.
From, Anna Gaskell, Wonder, 1996. Untitled no.3, C print, 152.4 x 127 cm.
Janine Antoni, Gnaw, 1992. Installation view of lard and chocolate blocks.
Janine Antoni, Gnaw, 1992. Photographic documentation of chocolate box shell and lipsticks made from chewed chocolate and lard.
Janine Antoni, Lick and Lather, 1993
Mike Kelley, Ahh… Youth!, 1991.
Mike Kelley, Craft Morphology Flow Chart, 1991. 114 dolls, 60 photographs, 1 acrylic on paper drawing, 33 folding tables.
Mike Kelley, Lumpenprole, 1991. Rug with found objects.
Mike Kelley, Dialogue #1 (Theory, Garbage, Stuffed Animals, Christ), 1991.
Mike Kelley, Ass Insect, from Monkey Island: Symmetrical Sets, 1982-3
Mike Kelley, banners, 1987.
Mike Kelley and Paul McCarthy, Heidi, 1992, 1 hour 3 minutes.
Thomas Hirschhorn, Mondrian Altar, 1997, remade in New York 2011.
Thomas Hirschhorn, Direct Sculpture, 1999
Thomas Hirschhorn, Meret Oppenheim Kiosk, 2000.
Thomas Hirschhorn, Bataille Monument, 2002. Kassel, Germany.
Thomas Hirschhorn, The Procession, 2005.
David Hammons, Concerto in Black and Blue, 2002. Ace Gallery, New York.
Glenn Ligon, Untitled (I Am A Man), 1988, oilstick on canvas.
Glenn Ligon, Untitled (Invisible Man), 1993, oilstick on canvas.
Glenn Ligon, Untitled (I Remember the Very Day That I Became Colored), 1990. Oil stick, gesso, and graphite on wood. 80 × 30 in
Glenn Ligon, from Runaways, 1993. Lithographic prints on paper.
Glenn Ligon, Self Portrait Exaggerating My Black Features/ Self-Portrait Exaggerating My White Features, 1998. Silkscreen on canvas.
Glenn Ligon, Notes on the Margin of the Black Book, 1991- 3
Glenn Ligon, Mudbone (Liar) 3, 1993, acrylic and oilstick on linen.
Glenn Ligon, Live, 2014, seven channel video, 80 mins.
Glenn Ligon, Untitled, 2006, shaped neon bulbs and paint
Glenn Ligon, Rückenfigur, 2009. Neon and paint
Renée Green, Sa Main Charmante, 1989, mixed media installation (stage light, paper, paint, and ink on wood).
Renée Green, Seen, 1990. Installation, 207 x 207 x 136 cm
Renée Green, Sites of Genealogy, Installation view at MoMA PS1, Queens, New York, 1991.
Renée Green, Import/Export Funk Office, installation view at Galerie Christian Nagel, Cologne, 1992
Renée Green, Endless Dreams and Water Between, installation view, National Maritime Museum, Greenwich, UK, 2009.
Martine Syms, everything I’ve Ever Wanted to Know, 2007-8.
Martine Syms, Notes on Gesture, 2015.
Martine Syms, installation view, Martine Syms: Fact &Trouble, Institute of Contemporary Art, London May-June 2016
Nathaniel Donnett, How Can You Love Me And Hate Me At The Same Time?, 2011, plastic bags, paper, paper bas, wood and gold leaf.
JODI, www.jodi.org.
Jesse Darling, Triptych (Not Long Now) , 2014, mixed media.
Hito Steyerl, How Not To Be Seen A Fucking Didactic Eductaional.MOV File, 2013. Video, high definition, projection, colour, 14 mins.
Seth Price, Taking/Writing/Lighting, 2007. Diamond acrlic plaster laminated to Carpatian elm, olive ash burl and walnut burl woods.
Hito Steyerl, Liquidity Inc., 2014 (still) HD video file, single channel in architectural environment, 30 minute and installation view at ICA Boston.
Hito Steyerl, Factory of the Sun, 2015.
Hito Steyerl, stills from November, 2004, 25 mins, 4:3, colour, sound.
Hito Steyerl, stills from Lovely Andrea, 2007, video, 30 mins, 4:3, colour, sound.
Laura Owens, Untitled, 2014, Acrylic, oil, Flashe, silkscreen ink, Pantone ink, pastel, paper, and wood on linen, 138 x 104 inches
Laura Owens, Untitled, 1997, Acrylic and oil on canvas, 96 x 120 inches
Laura Owens, Untitled, from ‘12 Paintings by Laura Owens’ 2013. Exhibition at 356 Mission Road, Los Angeles.
Laura Owens, Pavement Karaoke, 2012. Installation shot at Sadie Coles HQ, London, 2012.
Laura Owens, Untitled, 2012, Acrylic, oil, Flashe, charcoal, cord and yarn on hand-dyed linen, 33 panels; each 35.5 x 33.25 inches
Laura Ownes, Untitled, 2012, Acrylic, oil, Flashe, resin, pumice and collage on canvas, 108 x 84 inches and detail.
Laura Owens, Untitled, 2016, Oil, charcoal and tape on linen, 43 x 38 inches
Lynette Yiadom-Boakye, A Passion Like No Other, 2012, oil on canvas, 31 1/2 x 29 5/8 inches.
Lynette Yiadom-Boakye, The Hours Behind You, 2011, oil on canvas, 98 3/8 x 118 1/8 inches.
Zoe Leonard, The Fae Richards Photo Album, 1993–6.
Catherine Opie, Justin Bond, 1993, from Portraits.
Catherine Opie, Joanne, Betsy, & Olivia, Bayside, New York, 1998. Chromogenic print, 40 x 50 inches, edition of 5.
Catherine Opie, Untitled, 1999, from O Portfolio.
Catherine Opie, Untitled, 1999, from O Portfolio.,
Catherine Opie, Being and Having, 1991.
Catherine Opie, ‘Bo’, from Being and Having, 1991.
Catherine Opie, ‘Chicken’, from Being and Having, 1991.
Catherine Opie, ‘Ron Athey/The Sick Man’, from Deliverance, 2000, Polaroid.
Catherine Opie, James, 1993, from Portraits.i
Catherine Opie, Self-Portrait/Perverti, 1994.
Catherine Opie, Self-Portrait/Nursing, 2004. Chromogenic Print
Stills from Sadie Benning, Living Inside, 1989, 00:05:10, B&W, Mono, 4:3, Pixelvision.
Stills from Sadie Benning, If Every Girl Had a Diary, 1990, 00:08:00, B&W, Mono, Pixelvision.
Sharon Hayes , I March In The Parade of Liberty But As Long As I Love You I’m Not Free, 2007/8 (photo by Andrea Geyer).
Sharon Hayes, Revolutionary Love 2: I am Your Best Fantasy (detail, St. Paul), 2008, documentation of performance, Republican National Convention, St. Paul, MN.
Diana Davies, Dana Gottschalk Holds Poster at Christopher Street Gay Liberation Parade, 1970.
Sharon Hayes ‘Revolutionary Love: I am Your Worst Fear, I am Your Best Fantasy’, 2008 (installation view at Kunstmuseum St. Gallen, Switzerland).
Sharon Hayes, In the Near Future (detail), 2009, multiple-slide-projection installation, 13 x 35mm slide projections.
Patrick Staff, The Foundation, 2015. Installation shot at Spike Island, Bristol and stills.
Sharon Hayes In My Little Corner of the World, Anyone Would Love You, 2016 5-channel HD video, colour, sound; installation.
Sharon Hayes In My Little Corner of the World, Anyone Would Love You, 2016 5-channel HD video, colour, sound; installation
