Art in the 21st Century |
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"The end of art is peace." - Nobel Prize Winner Seamus Heaney
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Worksheet #14 Due |
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Learning Community 6 |
Chris Ofili. Shithead. 1993. Paul Schimmel. Public Offerings. Los Angeles: MOCA. 2001. |
Body Politics |
Cindy Sherman. Untitled #263.
1992. |
Taking the lead of the feminists, artists continue to recognize the body as a political site |
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Examine the diseased, flawed, victimized and ignored body |
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Countered the modernist focus on abstraction and the objectification of the nude |
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Kiki Smith. Untitled.
1986. http://www.moma.org/images/collection/FullSizes/00333065.jpg |
Kiki Smith. Untitled.
1986. (detail) |
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Janine Antoni. Chocolate
Gnaw. 1992. Grosenick, Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln. 2005. |
Janine Antoni. Lard
Gnaw. 1992. Grosenick, Uta. Women Artists in the 20th and 21st Century. Taschen. 2005. |
Janine Antoni. Lipsticks
& Candy Box. 1992. Grosenick, Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln. 2005. |
Identity Politics |
David Wojnarowicz. Untitled (One day this kid…). 1990. |
Artist explore the construction of identity and identification |
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Question what is accepted as "normal" and how the indidual navigates that definition |
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“Wojnarowicz uses the sharp delineation of his identity, principally in its divergence from the culture’s norms, to lay bare society’s ethical flaws and dissimulation. [He engages in a] painfully uncompromising self-scrutiny and exposure.”– Jonathan Fineberg |
Catherine Opie. Self-Portrait. 1993.
http://www.saatchi-gallery.co.uk/blogon/upload/2006/06/SelfportraitCutting1998.jpg
Catherine Opie. Self-Portrait/ Pervert. 1994. |
Catherine Opie. Self-Portrait Nursing. 2004. |
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Assorted definitions of "pervert" = |
to lead astray morally |
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to turn away from the right course |
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to turn to an improper use; misapply |
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to bring to a less excellent state; vitiate; debase |
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Pathology. to change to what is unnatural or abnormal |
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Catherine Opie. Oliver in a Tutu. 2004. |
Felix Gonzalez Torres. Untitled (Placebo). 1991.
http://www.wcma.org/press/07/Big_Images/07_Felix_Gonzalez_Torres/FGT_Installation_3.jpg
Baci = italian for "kiss" |
"I'm
giving you this sugary thing; you put it in your mouth and you suck on
someone else's body. And in this way, my work becomes part of so many other people's bodies. It's very hot." - Gonzalez-Torres |
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Robert Morris. Plywood Show. 1964. Marzona, Daniel. Minimal Art. Koln: Taschen, 2004. |
Felix Gonzalez torres. Untitled (Lover Boys). 1991. |
Felix Gonzalez-Torres. Clockwise from top left: Untitled (Death By Gun) 1990, Untitled (Aparicion)
1991, Untitled 1991,
Untitled (Republican Years) 1992.
Viewer takes home Untitled (Apparition)
http://www.kopenhagen.dk/billeder/reportage/felix_gonzalez_torres_hamburger_bahnhof/
Sally Mann
1951 -
Sally Mann. Candy Cigarette. 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
Sally Mann. Jessie and the Deer. 1985.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
The work is "about everybody's memories, as well as their fears." - Sally Mann |
Louise Bourgeois
1911 - 2010
Louise Bourgeois. Arch of Hyseria. 1993.
http://www.tate.org.uk/tateetc/issue11/lumpsbumps.htm
"Bourgeois's
work is a meditation on the past, and also a release of anger - chiefly,
it seems from her own account, anger about a blocked and frustrated
childhood, the sadistic teasing to which she was subjected by an anglophile
father, and (most of all) the presence in her childhood home of her
father's mistress." - Edward Lucie - Smith |
Louise Bourgeois. The Destruction of the Father. 1974. |
Louise Bourgeois. Maman as installed at National Gallery of Canada. 2005.
Maman was bought by the Guggenheim Museum, Bilbao for $4 million in 2006 |
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Louise Bourgeois. Filette (Little
Girl) (Sweeter Version). 1968. Chadwick, Whitney. Women, Art, and Society. Third edition. New York: Thames & Hudson Ltd., 2002. |
Mapplethorpe. Portrait of
Louise Bourgeois. 1982. Warr, Tracey. The Artist's Body. London: Phaidon Press Ltd., 2000. |
Kara Walker
1969 -
Kara Walker. Slavery!
Slavery! 1997.
Sheets, Hilarie M. "Cut It Out!" ARTnews.
April 2002: 1256 -129.
Kara Walker. Detail from Gone, An Historical Romance of a Civil War As It Occurred
Between the Dusky Thisghs of One Young Negress and Her Heart. 1994.
Kara Walker. You Do. 1997.
http://renaissancesociety.org/site/Exhibitions/Images.51.0.0.0.0.html?image=669
"Walker
refuses to see racism as a clear question of 'us versus them.' Instead,
she performs a complex excavation of both the psychological and the
sociological dimensions of identification." - David Joselit |
Betye Saar. The Liberation of Aunt Jemima. 1972. |
"All
black people in America want to be slaves just a little bit." -
Walker |
Kara Walker's work is "sort of revolting and negative and a form of betrayal to the slaves, particularly women and children; that is that it was basically for the amusement and the investment of the white art establishment." - Betye Saar |
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"These
are the slave narratives that were never written. Kara's work takes
from fact but also fantasy and throws on its head any notion we might
have of good and bad, right and wrong, black and white. There are no
clear dichotomies." - Thelma Golden |
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Kara Walker Art 21 Interview
Matthew Barney
1967 -
Matthew Barney. Cremaster 4: The Loughton Candiddate. 1994.
Cremaster
= the muscle that controls the contraction and relaxation of the testes
in response to different physical or psychological stimuli like increased
temperature or fear |
cremaster muscle in red |
"Biological,
social and mythological foundations of selfhood intersect and reflect
one another." - David Joselit |
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Cycle repeatedly
returns to period during early sexual development of the fetus when gender
has not been decided, a moment of pure potential for Barney |
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In the first several weeks of life, the fetus has no anatomical or hormonal sex (sex can only be determined by genes) |
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About the 10th week, external genitalia begins to differentiate |
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About 15th week, first spermatognia and ovarian follicles form |
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28th week, testes descend out of the body cavity |
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http://www.guggenheim.org/artscurriculum/lessons/cremaster_1_3_enl.php |
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http://www.walkerart.org/archive/F/B073714D4A3A3B0E6179.htm |
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Richard Serra flinging petroleum jelly |
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http://www.campuscircle.com/review.cfm?r=10855 |
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http://lessdynamics.files.wordpress.com/2008/08/cremaster_5_1_l2.jpg |
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Cremaster 2 dvd in exhibition case
http://teknemedia.net/adv/Matthew%20Barney,%20Cremaster%202,%201999,%20vetrina,%20%20cm.%2097.5x101.6x118.4.jpg
Having entered into the 21st Century, we have naturally "taken stock" of our moment
and many have declared the end of the avant-garde
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Alienation, innovation and futurism characterized the American avant-garde after WWII |
We understand now that these states have lost their lustre |
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Pollock standing in front of
blank canvas for Mural Harrison, Helen A. ed. Such Desperate Joy: Imagining Jackson Pollock. New York: Thunder's Mouth Press, 2000. |
Before the "Great Recession" there was a sense that there was nothing left to rebel against |
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Takashi Murakami. Tan Tan Bo. 2001. http://laist.com/attachments/kitsunenoir/takashi1.jpg |
In 1996 Hal Foster asked in the Return of the Real "Whatever happened to Postmodernism?" |
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Recently, many have also declared the end of postmodernism and have tentatively called the newest artistic era "post postmodernism" |
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Barry McGee. Untitled (Detail). 1998 - 2002. Hoptman, Laura. Drawing Now: Eight Propositions. New York: The Museum of Modern Art, 2002. |
Despite global economic turmoil, modern masters are selling for astronomical prices |
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A Johns Flag owned by Michael Crichton sold for $28,642,500 million setting a record for artist
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In 2010, Pablo Picasso's Nude, Green Leaves and Bust, 1932 sold for $106.5 milion setting a world record auction price for any work http://images.smh.com.au/2010/05/05/1411737/picasso1-420x0.jpg |
Jasper Johns. Flag. 1960 - 1966. http://artdaily.org/index.asp?int_sec=11&int_new=37980 |
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Jackson Pollock's No. 5 is currently the most expensive work of art, purchased privately from David Geffen for more than $140 million |
Jackson Pollock No. 5. 1948. |
Hilton Kramer has explained that for some, postmodernism [has] become "the revenge of the philistines" in that artists seemingly embraced kitsch, and low brow culture over the clean, cool, reasoned aesthetic of modernism with excessive eagerness |
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Mike Kelley. More
Love Hours Than Can Ever Be Repaid. 1987. http://www.pbs.org/art21/slideshow/?slide=834&artindex=167 |
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Can we really say that the institutional critique was too well received? Should we dismiss Postmodernism as fad? |
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Takashi Murakami Louis Vuitton bag included in the traveling retrospective of the artist's work © MURAKAMI http://gothamist.com/2008/04/02/_murakami_brook.php?gallery0Pic=4 |
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"Somehow in the last twenty years the very nature of being human, of inhabiting a body, has become much more problematic. The body has been radically refigured and contested and the complex anxiety about human subjectivity, which is commonplace in Postmodern thought, has informed a great deal of current art." - Art Theory For Beginners |
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Takashi Murakami. My Lonesome Cowboy. 1998. http://gothamist.com/attachments/nyc_arts_john/040208MurakamiBMA8.jpg |
Takashi Murakami with Hiropon. 1997. http://blog.squa.re/wp-content/uploads/Takashi-Murakami-Hiropon-.jpg |
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Andres Serrano. Self Portrait Shit. 2008. http://media.villagevoice.com/2486909.47.jpg |
Shit photos installed http://farm4.static.flickr.com/3186/2894116295_8310af35b2.jpg?v=0 |
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Walton Ford. Nila. 1999 - 2000. |
"We are now in a culture that has produced so many conflicting theories as to what art is, and so many diverse art practices, that it is hard to be sure what art is anymore. Perhaps we shouldn't talk about it as we do know. With the old split between art and craft or avant-garde art and kitsch thrown into question, it has been suggested that it is more useful to regard art as part of a larger visual culture ...where no one element is better or worse." In the "new art history we are asked to look at the ways or reasons that art objects may be made in relation to questions within the broader culture like power structures, gender or technology." It sees art as "a form of visual curiosity which means that it is always in some sense about how we view ourselves and others in the world. It is the 'aesthetics of curiosity' that underpins many of the ideas that artists and art theorists have been, and still are, engaged with." - Art Theory for Beginners |
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The Global Art Market
Advances in telecommunications and travel encourage the expansion of capitalism and democracy
Unprecedented economic and cultural integration
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Wangechi Mutu. She's Egungun Again. 2005. http://vielmetter.com/artists/Mutu/image_mutu_3.htm |
Mutu. Misguided Little Unforgiveable Hierarchies. 2005. http://vielmetter.com/artists/Mutu/Mutu%20Hierarchies%20detail.jpg |
Marlene Dumas. Visitor. 1995.
http://artinvestment.ru/en/news/artnews/20080709_woman_artists.html
Shirin Neshat. From the Women of Allah series. 1995.
http://www.newyorker.com/images/2007/10/22/p323/071022_neshat01_p323.jpg
Yasumasa Morimura. To My Little Sister: for Cindy Sherman. 1998.
http://membres.lycos.fr/morimura/art_history/ym_cindy01b.jpg
Ai Wei Wei Sunflower Seeds installed in Tate Modern 2010. 100,000,000 hand-painted porcelain seeds
http://en.wikipedia.org/wiki/File:%27Sunflower_Seeds%27_by_Ai_Weiwei,_Tate_Modern_Turbine_Hall.jpg
Cai Guo Qiang. I Want to Believe. 2008.
http://4.bp.blogspot.com/_lZ14nLCBlW0/SeItsvb5xpI/AAAAAAAAALg/rsOJHsMYyZw/s1600-h/rt_Cai_Guo-Qiang_02_080222_ssh.jpg
jouissance
= enjoyment, or something that gives the subject a way out of its normative
subjectivity through transcendent bliss, whatever that may be |
Felix Gonzalez Torres. Go-Go Dancing Platform. 1991.
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Final Exam Appointments |
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8:45 |
Alberto Fernandez |
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8:50 |
Allison Tapaya |
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8:55 |
Hilde Razo |
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9:00 |
Virginia Lucero |
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9:05 |
River Dowd-Lukesh |
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9:10 |
Greg Kelly |
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9:15 |
Maria Hernandez |
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9:20 |
Justin Snover |
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9:25 |
Aurora Borreo |
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9:30 |
Brittany Hennon |
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9:35 |
Jessica Agustin |
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9:40 |
Justin Newe |
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9:45 |
A.J. Green |
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9:50 |
Johnny Alderete |
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9:55 |
Amanda Johnson |
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Kim Dingle. Girls with Dress Pole. 2001. http://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/458.901.jpg |
10:00 |
Raymond Na |
10:05 |
Carrie Kado |
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10:10 |
Tamara Davies |
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10:15 |
Sara Goding |
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10:20 |
Stephanie Dowding |
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10:25 |
Azalea Arragundi |
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10:30 |
Taylor Carpenter |
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10:35 |
Nhu Chau |
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10:40 |
Kelsey Schommer |
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10:45 |
Samara Miramontes |
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10:50 |
Elisa Gomez |
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10:55 |
Dan Ossandon |
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11:00 |
Taylor Jenkins |
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11:05 |
Michelle Zayer |
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11:10 |
Rebecca Olmos |
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11:20 |
Eva Nainggolan |
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11:25 |
Ariel Dominguez
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