Art 1 Lecture 12

July 21
Postmodernism
	David Salle. Colony. 1986. http://www.thecityreview.com/f07pcon1.html
Assignments Due: Worksheets #10 & 11 Extra Credit Opportunity! Earn 10 points with proof of attendance Catherine Opie Artist Talk at LACMA in the Bing Theatre Sunday, July 25 at 2 pm Free, tickets available one hour in advance
	"It was as though art had been emptied out by formalism and we had to go back to the well and see what could be put back in." - David Salle

Ana Mendieta
1948 - 1985

Glass on Face Print

Ana Mendieta. Glass on Face Imprint. 1972.
Duncan, Michael. "Tracing Mendieta." Art in America. April 1999: 110 -113, 154.

Glass on Body Print

Ana Mendieta. Glass on Body Imprint. 1972.
Duncan, Michael. "Tracing Mendieta." Art in America. April 1999: 110 -113, 154.

Cube

Larry Bell. Cube. 1966.
http://franklloydgallery.files.wordpress.com/2010/03/bell_cube_moca.jpg

Silueta series
1973 - 1977

Buried

Ana Mendieta. Buried. 1973 - 77.
Duncan, Michael. "Tracing Mendieta." Art in America. April 1999: 110 -113, 154.

Silueta de Cohetes

Ana Mendieta. Silueta de Cohetes. 1976.
Duncan, Michael. "Tracing Mendieta." Art in America. April 1999: 110 -113, 154.

Earth/ Body Figure

Ana Mendieta. Earth/ Body Figure. 1973 - 77.
Duncan, Michael. "Tracing Mendieta." Art in America. April 1999: 110 -113, 154.

Steel Magnesium Plain

Carl Andre. Steel Magnesium Plain. 1969. 6 X 6 ft.
Marzona, Daniel. Minimal Art. Koln: Taschen, 2004.

Naked by the Window by Robert Katz

Hand/ Heart

Carolee Schneemann. Hand/ Heart for Mendieta. 1986. Blood, ashes and syrup on snow.

Homage to Carl Andre

Rachel Lachowicz. Homage to Carl Andre (After Carl Andre's Magnesium and Zinc, 1969.) 1991.
Lipstick and wax. 72 X 72 X 3/8 inches.

Louise Bourgeois
1911 -

Blind Man's Bluff

Louise Bourgeois. Blind Man’s Bluff. 1984.
http://members.aol.com/mindwebart2/louisewhite.jpg

"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

Destruction of the Father

Louise Bourgeois. The Destruction of the Father. 1974.
Preble, Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice Hall, Upper Saddle River, NJ, 2002.

Fillette

Louise Bourgeois. Filette (Little Girl) (Sweeter Version) . 1968. Latex over plaster.
Chadwick, Whitney. Women, Art, and Society. Third edition. New York: Thames & Hudson Ltd., 2002.

Fillette

Robert Mapplethorpe. Portrait of Louise Bourgeois. 1982.
Warr, Tracey. The Artist's Body. London: Phaidon Press Ltd., 2000.

"In Louise Bourgeois' work, we are often faced with the presence of subjects who desire, and who desire sexually. They are not immediate figures of desire but they position themselves clearly as operations of desire. Bourgeois' vengeance on the constraints of the "wish to know" is to create the disorder of the forbidden. The right to know is my birth right." - Edward Lucie-Smith

Maman

Louise Bourgeois. Maman as installed at National Gallery of Canada. 2005.

Maman was bought by the Guggenheim Museum, Bilbao for $4 million in 2006

80s Art Boom	Julian Schnabel. The Patient and the Doctors. 1978.
Many newly wealthy "Yuppies" buying art as an investment
Galleries become numerous in NY and owners become very aggressive in their sales tactics
Art prices increase astronomically

“Rather than dematerializing itself further, art at the turn of the 1980s largely underwent a rematerialization’. It might be concluded from this that the post-1968 avant-garde project, however innovatory its forms, simply failed. In fact, it had to weather a political and cultural sea-change” – David Hopkins

Chuck Close. Big Self-Portrait. 1968. 8’ 11 ½” X 6’ 11 ½”.	Is painting really dead?	David Salle. The Miller's Tale. 1984. http://www.maryboonegallery.com/artist_info/pages/salle/detail3.html

	Painting declared dead in 1965
	1980s artists demanded a reconsideration of painting


	Two avenues of painted form emerge:
	Revival of expressionism
	Photorealism

Gerhard Richter
1932 -

"I pursue no objectives, no system, no tendency; I have no program, no style, no direction. I steer clear of definitions. I do not know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty." - Gerhard Richter

Eight Student Nurses

Gerhard Richter. Eight Student Nurses. 1966.

grisaille = monochrome painting usually executed in various shades of gray

	Ricther's source material http://www.enterstageright.com/archive/articles/0706/071706speckvictims.jpg
	Richter's nurses http://www.imageandnarrative.be/worldmusica/images/16bverpleegsters.jpg

Untitled

Gerhard Richter. Untitled. 1986.

Betty

Gerhard Richter. Betty. 1988.

Post-Structuralism = philosophical approach based on the idea that words and photographs are unstable and cannot be trusted, and that everything is a momentary construction with no ultimate meaning or truth

Gerhard Richter. Two Candles. 1983. http://www.diacenter.org/kos/images/richter2.jpg	Gerhard Richter. Meditation. 1986. http://home.swipnet.se/~w-26153/art/richter/images/meditation.htm


Marcel Duchamp. Nude Descending a Staircase. 1912.	Gerhard Richter. Ema (Nude on a Staircase). 1966. http://becksearlescott.wordpress.com/2008/12/09/gerhard-richter/nude-on-staircase/

More Richter

Audrey Flack. Marilyn (Vanitas). 1977. 96" X 96". Nancy G. Heller. Women Artists. Fourth edition. New York: Abbeville Press Publishers, 2003.	Photo Realism = genre of painting that developed out of the Pop Art movement and involves the use of photographs and mechanical transfer of the photo image to canvase that results in a painting resembling that resembles a photo

	Related to Fredric Jameson's concept of the simulacra and Jean Baudrillard's Simulacra and Simulation 1981
	simulacra = a copy of a copy which has been so dissipated in its relation to the original that it can no longer be said to be a copy. The simulacrum therefore stands on its own as a copy without a model

	the painting is a copy of a photograph
	the photograph is a copy of the "original"
	the "original" may have been set up to remind the viewer of something prior
	the "original" likely doubtlessly modeled itself on something prior

Telephone Booths

Richard Estes. Telephone Booths. 1968.

"This image does not represent reality, it represents paint." - David Hopkins

Men in the Cities

Robert Longo. Untitled (Cindy and Eric). From the Men in the Cities series. 1981.
Haus, Mary. "Robert Longo talks to Mary Haus." Artforum. March 2003. 239.

Tourists

Duane Hanson. Tourists. 1970. Polyester resin, fiberglass and human paraphernalia.

trompe l’oeil = fool the eye

Untitled Ocean

Vija Celmins. Untitled (Ocean) (Venice, California). 1970. Pencil on paper. 14" X 18".
Sayre, Henry M. A World of Art. Upper Saddle River, NJ: Prentice Hall, 2003.

Package

Claudio Bravo. Package. 1969. Charcoal, pastel and sanguine.
Fichner-Rathus, Lois. Understanding Art. Seventh edition. Australia: Thomson Wadsworth, 2004.

To the Unknown Painter

Anselm Kiefer. To the Unknown Painter. 1983.
http://en.wikipedia.org/wiki/Image:Kiefer.jpg

Neo-Expressionism = style of modern painting that emerged in the late 1970s and dominated the art market until the mid-1980s. It developed as a reaction against the conceptual and minimalist art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the body, in a rough and violently emotional way using vivid colours and banal colour harmonies.

Old Man's Boy

Eric Fischl. Old Man's Boat and the Old Man's Dog. 1982.
http://privateview4.artlogiconline.com/?010ac68bbd0258bb&3

Raft of the Medusa

Theodore Gericault. Raft of the Medusa. 1818 - 19.

Bad Boy

Eric Fischl. Bad Boy. 1981.

Graffiti Aesthetics

1985 Whitney Biennial was called the "Graffiti Show"

Keith Haring

Keith Haring drawing in the New York City subway. 1982.

Keith Haring website

"To do what I have done here has been a set
of prolonged precision in cold blood,
beyond anything else that I have ever written."

To Do What

Raymond Pettibon. Untitled (To Do What). 1995.
Riemschneider, Burkhard, and Uta Grosenick. Art at the Turn of the Millennium. Taschen, Koln. 1999.

Maureen and David Smith

photo of Maureen Hindley and David Smith - Maureen was the sister of Myra Hindley and
David was the witnesses to one of Myra and Ian Brady's murders
http://en.wikipedia.org/wiki/Image:Maureen_and_David.jpg

Goo

Raymond Pettibon. Sonic Youth Goo album cover. 1990.
http://en.wikipedia.org/wiki/Image:Sonic_Youth_Goo.jpg

Jean Michel Basquiat
1960 - 1988

Samo graffiti

Jean-Michel Basquiat. Samo graffiti. 1978.
Emmerling, Leonhard. Basquiat. Koln: Taschen, 2003.

samo = same old shit

"If Cy twombly and Jean Dubuffet had a baby and gave it up for adoption, it would be Jean-Michel." -Rene Ricard

Skull

Jean-Michel Basquiat. Untitled (Skull). 1981.
Emmerling, Leonhard. Basquiat. Koln: Taschen, 2003.

Basquiat's themes:	Jean-Michel Basquiat. Red Man. 1981.
Kings
Heroes
The streets

Repeated symbols:
the crown
the copyright symbol - ©

Sugar Ray Robinson

Jean-Michel Basquiat. Untitled (Sugar Ray Robinson). 1982.
Emmerling, Leonhard. Basquiat. Koln: Taschen, 2003.

Sugar Ray Robinson

Sugar Ray Robinson
http://upload.wikimedia.org/wikipedia/en/5/51/Sugarrayrobinson.jpg

Charles the First

Jean-Michel Basquiat. Charles the First. 1982.

Charlie Parker

Charlie Parker
http://en.wikipedia.org/wiki/Image:Charlie_Parker.jpg

Basquiat

Lizzie Himmel. Jean-Michel Basquiat. 1985.
http://www.theconnection.org/photogallery/basquiat/images/1.jpg

Five thousand Dollars

Jean-Michel Basquiat. Five Thousand Dollars. 1982.
http://1.bp.blogspot.com/_iMGWrLb2znk/Sa2x2dwAp0I/AAAAAAAABKo/DvQhbSVtGxg/s1600-h/five+thousand+dollars

Sigmar Polke. Untitled. 2001 - 2006. Artificial resin on polyester. http://www.artnet.com/artwork_images_1119_247544_sigmar-polke.jpg	Postmodernism = name for many stylistic reactions to, and developments from, modernism. Postmodern style is often characterized by eclecticism, digression, collage, pastiche, and irony. Postmodern theorists see postmodern art as a reversal of well-established modernist systems, such as the roles of artist versus audience, seriousness versus play, or high culture versus kitsch.



	Postmodernists believe that no single truth exists
	Sense that the avant-garde has broken down- there is no longer a shared message or purpose
	Embrace diversity
	Encourage parody, irony and playfulness
	Jouissance = enjoyment

Modernism vs. Postmodernism

	Modernism	Postmodernism
Main goal	To overthrow the conventions of the past	No main goal, but maybe to overthrow Modernism
	Based on a linear concept of history, where art builds upon itself and becomes progressively better
Emphasis on	Innovation (being the first)	Pluralism (there are many equally valid perspectives coexisting simultaneously)
	The universal and the essential	Diversity and contradiction
Structure of art	High vs. Low art (painting is the highest form of art, and male artists are geniuses, all other media and classes are inferior)	All art forms are equally valid (art can be made by anyone and made out of anything)
Core concepts	Art is an intellectual pursuit	Art is playful, ironic, experimental, expressive and intellectual
	Art is for the elite, not for everyone	Art is for everyone and can change lives
	Distinctions in the arts should be clear and definitive
Regard for the future	Optimism	Uncertainty