July 28 |
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Art in the Global 21st Century? |
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"The end of art is peace." - Nobel Prize Winner Seamus Heaney
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Walton Ford. Dying Words. 2005. 6 copper plates, hardground etching, aquatint, spit bite aquatint, drypoint, scraping and burnishing on white Rives paper, ed. of 75, 14" x 18" |
David Wojnarowicz. Untitled (One day this kid ). 1990. |
Identity Politics |
Artist explore the construction of identity and identification |
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Question what is accepted as "normal," who decides normalcy, and how the indidual navigates that definition |
1980 - 1986 The Ballad of Sexual Dependency

Nan Goldin. Nan
and Brian in Bed. 1983.
http://www.metmuseum.org/toah/works-of-art/2001.627

Nan Goldin. Nan
One Month After Being Battered. 1984.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln. 2005.
Nan Goldin. Cookie and Vittorio's Wedding. 1986. |
Nan Goldin. Cookie
at Vittorio's Casket. 1989. |

Kara Walker. Slavery!
Slavery! 1997.
http://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/201.699.jpg

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. |
Josephine Baker performing the Danse Sauvage in 1927 |
7 Year Olds dancing to Single Ladies (Put a Ring on It)
Beyonce and dancers in the Single Ladies video 2008 |
Betye Saar. The Liberation of Aunt Jemima. 1972. |
In 1997, at the age of 28, Walker became one of the youngest recipients of the MacArthur Genius Award |
"All
black people in America want to be slaves just a little bit." -
Kara Walker |
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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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"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 |
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“Needless to say, it is the two hundred year history of a shameful act conducted squarely within our consciousness that makes it possible for Walker to not only refuse shame but to blur the distinction between forms of shame. Even more important, Walker is aware that to speak of shame is simultaneously to speak of disgust, the overcoming of which is a prerequisite for sexual pleasure. Given the volume of shame, it is no wonder that the pleasures derived by her characters are often Sadistic in nature.” – Hamza Walker |
Kara Walker. Exhibition at the Renaissance Society. 1997. |
Catherine Opie
1961 -

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. |
Assorted definitions of "pervert" = |
to lead astray morally |
to turn away from the right course |
to turn to an improper use; misapply |
to bring to a less excellent state; vitiate; debase |
Pathology. to change to what is unnatural or abnormal |

Catherine Opie. Oliver in a Tutu. 2004.
http://www.artinfo.com/news/enlarged_image/28788/115891/
Sally Mann
1951 -

Sally Mann. Jessie and the Deer. 1985.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
Ray Buckey in court |
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Sally Mann. Last Light . 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
The work is "about everybody's memories, as well as their fears." - Sally Mann |

Sally Mann. The Terrible Picture. 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.

Sally Mann. Flour Paste . 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
"This is the stuff of which Greek dramas are made: impatience, terror, self-discovery, self-doubt, pain, vulnerability, role-playing and a sense of immortality." - Aperture Magazine |

Sally Mann. Candy Cigarette. 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.

Len Prince. Jessie Mann. 2004.
http://www.edelmangallery.com/prince11.htm
Felix Gonzalez Torres
1957 - 1996
1957 born in Guaimaro, Cuba, the third of what would eventually be four children 1964 Dad bought me a set of watercolors and gave me my first cat 1971 sent to Spain with my sister Gloria, then went to Puerto Rico to live with my uncle 1979 returned to Cuba to see my parents after an eight-year separation 1981 parents escaped Cuba during Mariel boat lift, my brother Mario and sister Mayda escaped with them 1978 met Jeff in Puerto Rico 1976 Gloria and I moved to our own apartment-small, but full of sunlight 1977 Rosa 1976 met my friend Mario 1979 moved to New York City 1980 met Luis at the beach 1983 received BFA from Pratt Institute 1981 and 1983 attended the Whitney Museum Independent Study Program 1987 received MFA from the International Center of Photography and New York University 1983 Ross at the Boybar 1985 Jeff gave me Pebbles and Biko, two Lilac Point Siamese cats-hardly able to support myself, and now with two cats to feed, only Jeff 1985 first trip to Europe, first summer with Ross 1986 summer in Venice, studied Venetian painting and architecture 1986 blue kitchen, blue flowers in Toronto - a real home for the first time in so long, so long, Ross is here 1987 Wawanaisa Lake: beavers, wild brown bears, Harry retrieved every buoy he sees, New York Times every morning, duck cabin 1986 Mother died of leukemia 1990 Myriam died 1991 Ross died of AIDS, Dad died three weeks later, a hundred small yellow envelopes of my lover's ashes-his last will 1991 Jorge stopped talking to me, I'm lost - Claudio and Miami Beach saved me 1992 Jeff died of AIDS 1990 silver ocean in San Francisco 1992 President Clinton - hope, twelve years of trickle-down economics came to an end 1990 moved to L.A. with Ross (already very sick), Harry the Dog, Biko, and Pebbles, the Ravenswood, Rossmore, golden hour, Ann and Chris by the pool, magic hour, rented a red car, money for the first time, no more waiting on tables, 'Golden Girls', great students at CalArts, Millie and Catherine, went back to Madrid after almost twenty years-sweet revenge 1989 the fall of the Berlin Wall 1991 Bruno and Mary, two black cats Ross found in Toronto, came to live with me 1991 the world I knew is gone, moved the four cats, books, and a few things to a new apartment 1991 went back to L.A., hospitalized for 10 days 1990 first show with Andrea Rosen 1993 moved to 24th Street 1987 joined Group Material 1991 Julie moved from Brooklyn to Manhattan 1992 the forces of hate and ignorance are alive and well in Oregon and Colorado, among other places 1993 Sam Nunn is such a sissy, peace might be possible in the Middle East 1992 started to collect George Nelson clocks and furniture 1993 three years since Ross died, painted kitchen floor bright orange, this book |
Felix Gonzales-Torres. Untitled. 1989. |

Felix Gonzalez-Torres. Bed. 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/
Robert Morris. Plywood Show. 1964. |
Felix Gonzalez torres. Untitled (Lover Boys). 1991. |

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 |
Historic Context |
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| 2001 - 2009 | George W. Bush Presidency |
Shepard Fairey. Obama Hope. 2009. |
| 2001 | Attacks on World Trade Center and Pentagon | |
| U.S. bombs Afghanistan | ||
| 2003 | U.S. and Britain launch war on Iraq | |
| U.S. led coalition overthrows the government of Saddam Hussein in Iraq and begin to install democratic government | ||
| War in Darfur begins and is later declared one of the worst humanitarian crisis in the world. By 2008 it is believed that up to 400,000 people have been killed. | ||
| Completion of Human Genome Project | ||
| 2004 | Tsunami in South Asia | |
| Kodak announces it will no longer produce black and white paper or slide projectors | ||
| 2005 | Hurricane Katrina and massive flooding in New Orleans | |
| 2006 | Saddam Hussein executed | |
| North Korea conducts first nuclear weapons test | ||
| 2007 | Global economic crisis significantly prompted by unregulated banking and loan practices | |
| 2009 | Barack Obama becomes the first African American president of the United States | |
| North Korea conducts second nuclear weapons test | ||
| 2010 | International AIDS conference in Vienna declares the "war on drugs" a failure and calls for new strategies in combatting the spread of HIV | |
| Scientists create the first synthetic lifeform | ||
| Earthquake in Haiti kills at least 230,000 and makes millions homeless | ||
| British Petroleum deep water oil rig explodes in the Gulf of Mexico releasing as much as 100,000 barrels of oil every day from April to July causing the worst oil spill and one of the worst environmental disasters in history. | ||
| Globalization. Advances in telecommunications and transportation, the expansion of capitalism and democracy, and free trade agreements have resulted in unprecedented global economic and cultural integration. This has caused (and is continuing to cause) economic and cultural shifts which have been the subject of considerable controversy. | ||
http://www.taschen.com/pages/en/catalogue/design/reading_ |
Sensation 1997 - 99 |
Advertising mogul and art collector Charles Saatchi coined the phrase |
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YBAs = Young British Artists |
Damien Hirst. The
Physical Impossibility of Death in the Mind of Someone Living. 1991. |
The Physical Impossibility (detail) |
Commission by Charles Saatchi in 1991 for £50,000 |
Because the original carcass was badly preserved, in 1993 the gallery gutted the shark and stretched the skin over a fiberglass mold |
Another shark was caught off Queensland (a female 25–30 years old) and eventually replaced the decayed original |
2004 Saatchi sold for £7 million |

Damien Hirst. The
Little Piggy Went to the Market, This Little Piggy Went Home. 1996.
http://homepage.mac.com/lukewhite/pics/hirstnaples/naples11.jpg

Damien Hirst. Some
Comfort Gained from the Acceptance of the Inherent Lies in Everything. 1996.
http://bigotherbigother.files.wordpress.com/2010/02/7bab8407.jpg

Damien Hirst. For the Love of God. 2007.
source unknown
platinum cast of a human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead of the skull |
Cost the artist £14 million to produce |
Hirst claims he sold the skull for the asking price of £50 million ($100 million) |
"Everyone in the art world knows Hirst hasn't sold the skull. It's clearly just an elaborate ruse to drum up publicity and rewrite the book value of all his other work." - Hirst critic |
Jake and Dinos Chapman. Great Deeds Against the Dead. 1994. |
Francisco Goya. Great Deeds Against the Dead. 1810. |
Ron Mueck. Dead Dad. 1996 - 97. |
Dead Dad with Viewers |
Ron Mueck. A Girl. |
Ron Mueck. Two Women. 2005. |

Marcus Harvey. Myra.
1995. 9' X 11'.
http://forum.lookbook.nu/show/23587-what-artists-portray-murder-death-as-their-main-concept-emotion

Myra Hindley's mugshot in 1966
http://img.dailymail.co.uk/i/pix/2007/07_02/myraDM1507_468x655.jpg

Chris Ofili. The
Holy Virgin Mary. 1996.
http://www.maround.com/mablog/tyler_askew/1996%20The%20Holy%20Virgin%20Mary.200.jpg
Matthew Barney
1967 -

Matthew Barney. Cremaster
4: The Loughton Candiddate. 1994.
http://culturavisualqueer.files.wordpress.com/2010/06/cremaster4-1.jpg
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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Goodyear |
http://www.pbs.org/art21/artists/barney/card1.html |
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Football stadium in Boise, Idaho |
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Uses 1930s musical film genre to explore conflicting biology of male and female |
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Explores the transformation of the female body |
http://4.bp.blogspot.com/_EJkydwUUgiM/SZYsnD3_BpI/AAAAAAAAAFg/DSZ8KlDaMhw/s1600-h/1cremaster+2.jpg |
http://www.walkerart.org/archive/D/B073714FCA4689C56179.htm |
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Utah, Great Salt Lake and Rocky Mountains |
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Uses the Gothic western film genre to explore biological mirroring |
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Loosely based on Norman Mailer's Executioner's Song on the imprisonment and execution of Mormon serial killer Gary Gillmore |
http://www.architektur.abk-stuttgart.de/georgiadis/veranst_archiv_ex.html |
Richard Serra flinging petroleum jelly |
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Guggenheim Museum and Empire State Building in New York |
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Uses sports cinematography to explore the race to sexual differentiation |
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Basing itself within the mythology of Freemasonry, the Apprentice must solve a number of challenges in order to attain a higher state of being |
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http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5128561 |
http://www.koki-freiburg.de/2006/0906/creemaster_4.jpg |
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The Isle of Man, and United Kingdom |
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Uses Chaplin-esque comedy genre to explore function and dysfunction |
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Explores the rush towards descension despite an internal resistance to division |
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http://www.artinfo.ru/ru/news/images/Photo-main/cremaster_5_1_l.jpg |
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Budapest and New York |
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Uses the melodrama of lyric opera to describe the descension as a tragic romance (between Houdini and the Opera Queen) |
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Explores the final determination of genre |

Cremaster 2 dvd in exhibition case
http://teknemedia.net/adv/Matthew%20Barney,%20Cremaster%202,%201999,%20vetrina,%20%20cm.%2097.5x101.6x118.4.jpg
The films were published as dvds in a series of four |
The artist does not intend to ever allow a wider release |
In 2007, Cremaster 2 sold at auction for $475,000 |
Is the avant garde dead?

Takashi Murakami. Tan Tan Bo. 2001.
http://laist.com/attachments/kitsunenoir/takashi1.jpg

Takashi Murakami. My Lonesome Cowboy and Hiropon. 1998 and 1997.
http://www.jcbourdais.net/journal/images_journal/journalthiron/lactation/jap1.jpg

The cast of Bravo's Work of Art, 2010

Karl Haendel. $56,055. 2005. 93 X 130”. Pencil on paper.
http://www.moca.org/museum/imagerotator.php?exid=365&id=813

Mike Kelley. More
Love Hours Than Can Ever Be Repaid. 1987.
http://www.pbs.org/art21/slideshow/?slide=834&artindex=167

Andres Serrano. Shit photos installed. 2008.
http://farm4.static.flickr.com/3186/2894116295_8310af35b2.jpg?v=0
Andres Serrano. Self Portrait Shit. 2008. |
Andres Serrano. SHIT (Hieronymus Bosch shit). 2008. |
The Global Art Market

Wangechi Mutu. She's Egungun Again. 2005.
http://www.moca.org/pc/viewArtWork.php?id=88

Mariko Mori. Miko No Inori. 1996.
http://www.deitch.com/artists/selected_works.php?selectedWorksId=32&artistId=15

Patricia Piccinini. We Are Family. 2003.
http://www.tolarnogalleries.com/media/client/2528_web.jpg

Xu Bing. Book from the Sky. 1987 - 1991.
http://markmeynell.wordpress.com/2008/05/19/when-words-mean-nothing-even-to-the-chinese/

Shirin Neshat. From the Women of Allah series. 1995.
http://www.newyorker.com/images/2007/10/22/p323/071022_neshat01_p323.jpg
Yasumasa Morimura. From an Inner Dialogue with Friday Kahlo. 2009. |
Yasumasa Morimura. Self Portrait/ (Actress) Red Marilyn. 1996. |
Yasumasa Morimura. Che. 2007. |
Jouissance
= enjoyment, or something that gives the subject a way out of its normative
subjectivity through transcendent bliss, whatever that may be |

Walton Ford. Nila. 1999 - 2000.
http://flux.egloos.com/1765908

Barry McGee. Untitled (Detail). 1998 - 2002.
Hoptman, Laura. Drawing Now: Eight Propositions. New York: The Museum of Modern Art, 2002.
Nicole Cawlfield. Anti-Atkins Thin-Up Girl Lacy. 2005.

Liza Lou. Kitchen.
1991 - 94.
Ollman, Leah. "Liza Lous American
Dream." Art in America. June 1998: 98-101 & 122.
Kate Kretz. Your Fragility. 2010. |
Separation Anxiety As significant numbers of women have entered the work force since the 1970s in response to shifting economic needs and the influence of the Feminist movement, Jean-Jacques Rousseau's long honored notion of the "Good Mother" and the demand that she blithely sacrifice all for the good of her children and household has been challenged and re-evaluated. But as women have demanded a place within the domestic AND public realms, conservative groups have predictably lamented the decline of "family values." Within that cry, the child has often been portrayed as endangered and lost as mothers seek to redefine their roles and obligations. While far from being resolved, such debates are symptomatic of a cultural anxiety over the state of childhood and a realization that idealistic, largely unattainable notions of the family continue to be frankly reconsidered in the 21st century. Drawing from the curator's own efforts to balance the demands of motherhood with creative and professional endeavors, Denise Johnson and Rebecca Trawick consider how contemporary artists have explored modern parenthood under the pressures of changing economies and evolving definitions of family. Artists in the exhibition explore the often unacknowledged angst and unease that all parents, traditional or not, must navigate. Through these investigations, cultural anxieties and debates over the definition of family, parenthood and childhood are explored in surprising and interesting ways. |

Chris Ofili. Shithead. 1993.
Paul Schimmel. Public Offerings. Los Angeles: MOCA. 2001.

Felix Gonzalez Torres. Untitled (Go-Go Dancing Platform). 1991.
http://www.canadianart.ca/online/reviews/2009/03/26/neohoodoo/