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http://blog.art21.org/2008/05/08/lari-pittman-craft/ painter Lari Pittman on “craft” The Art 21 blog has lots of good vi

http://blog.art21.org/2008/05/08/lari-pittman-craft/ painter Lari Pittman on “craft” The Art 21 blog has lots of good video clips. Check it out!.

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http://blog.art21.org/2008/05/08/lari-pittman-craft/ painter Lari Pittman on “craft” The Art 21 blog has lots of good vi

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  1. http://blog.art21.org/2008/05/08/lari-pittman-craft/painter Lari Pittman on “craft”The Art 21 blog has lots of good video clips. Check it out!

  2. Our last quiz is next Thursday before the group discussion of final exam proposalsThe quiz is 20 minutes for two identification slides. The quiz will cover material from the last quiz (conceptual photography), Downtown New York in the ‘eighties, Jordana Saggese’s lecture on Jean Michel Basquiat, and material from today’s lecture. Be able to state succinctly key art historical points about the artwork. Review relevant readings.

  3. Photography out of Conceptual Art Why has photography moved from themargin to the center of contemporaryart in the last 40 years?

  4. Installation view of the 1970 Information exhibition, MoMA NYC

  5. Joseph Kosuth, One and Three Chairs, 1965, wooden folding chair, photographic copy of a chair and photographic enlargement of a dictionary definition of a chair

  6. Kosuth, One and Three Tables, 1965, Installation, wooden table, gelatin silver photograph, and photostat mounted on foamcore

  7. Gilbert and George, The Singing Sculpture, 1970, photograph of performance(Gilbert Proesch, b.1943, Italy; George Passmore, b. 1942, England) Gilbert & George with Ginkgo series, British pavilion Venice Biennale 2005

  8. Bruce Nauman, Self-Portrait as a Fountain, from the series Photograph Suite, 1966-70, chromogenic color print

  9. Denis Oppenheim, Reading Position for Second Degree Burn, 1970, Stage 1 and Stage 2, book, skin, solar energy, exposure time 5 hours, Jones Beach, New York, color photography and collage, 216 x 152 cm

  10. Denis Oppenheim’s Hanging Gardens, Sacramento airport

  11. Ed Ruscha, Flying A, Kingman, Arizona, from Twentysix Gasoline Stations, 1963, photographic book

  12. Compare Ruscha’s vision of the American West with Ansel Adams’ sublime interpretation based on Romantic painting aesthetics. (Moonrise over Hernandez, NM. October 31, 1941) Adams made “Art” and did not work in other media. He was a modernist and not a postmodern conceptual artist like Ruscha. Through his deliberate lack of style, Ruscha draws attention “to the estranged relationship of people to their rural environment, but without staging or dramatizing the estrangement.” (Jeff Wall)

  13. Adams, Grand Tetons and the Snake River, 1942 Bierstadt, The Rocky Mountains, 1863

  14. Ed Ruscha, The Old Trade School Building, 2005, synthetic polymer on canvas, 54 x 120 inches, from The Course of Empire Series, US Pavilion, Venice Biennale, 2005(bottom) Blue Collar Trade School, 1992, Synthetic polymer on canvas, 54 x 120

  15. Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey,” 1967 from Artforum, vol.6, no.4, December 1967, pp. 48-51.

  16. Robert Smithson (American Environmental Artist, 1938-1973), Spiral Jetty, 1970, Great Salt Lake. Earthwork

  17. Anselm Kiefer, Heroic Symbol , page 9, 1969

  18. Christian Boltanski (French, b. 1944) Jewish School of Grosse Hamburgstrasse in Berlin in 1939, 1991, moving photographs, fans, florescent lamps, dimensions variable

  19. Christian Boltanski,The Reserve of Dead Swiss, 1990 (two different installations) We hate to see the dead, yet we love them, we appreciate them Boltanski

  20. Hans Haacke, detail of Shapolsky et al, Manhattan Real Estate Holdings, a Real Time System as of May 1, 1971, 1971, two enlarged photographs, 142 black and white photographs with typewritten data sheets, six charts and one explanatory panel

  21. Bernhardand Hilla Becher (German, born 1931 and 1934 respectively) Conceptual (typological) photography(left) Gas Tanks, 1963 (right) Water Towers, 1980, 9 b/w photographs mounted on board, 62inH overall

  22. Thomas Struth (Germany, b.1954, student of Bechers) Shinju-ku (Skyscrapers), Tokyo, 1986 (right) Ferdinand-von-Schill-Strasse, Dessau, 1991

  23. Candida Höfer,(Germany, 1944, student of Bechers) (left) Stiftsbibliothek Klosterneuburg III, 2003, C-print, 68 in. HCa' Rezzonico Venezia II, 2003, C-print, 74 in. Width

  24. Thomas Ruff (German, b.1958), House #9 II, 1991, 72 in. Hone of series taken in early morning, apartment blocks in Eastern Germany

  25. Thomas Ruff, (left) Portrait, 1989, 63in. H(center and right) from Portrait series, 2001, conceptual typologies“absolute objectivity” like passport photos except for scale '... Like archetypal passport photos... young people with dead eyes and empty faces.' Ruff

  26. Martha Rosler, detail of The Bowery in Two Inadequate Descriptive Systems, 1974, 45 black and white photographs mounted on 24 mat-board panels, each panel 25 x 56 cm

  27. Martha Rosler (US, 1943) Cleaning the Drapes, from series, Bringing the War Home: House Beautiful, 1967-72

  28. Allan Sekula, detail of Aerospace Folktales, 1973, 51 black and white photographs in 23 frames, 56 x 72 cm each, three red canvas director’s chairs, three CD players and speakers, three simultaneous unsynchronized audiotape recordings: duration 17 min, 21 min and 23 min, edition 1 of 2 Produces Berthold Brecht’s “alienation effects” that make viewers continually aware that they are looking at a representation. Participants are highly conscious of the camera. Sekula consciously pretends a (fictional) objectivity

  29. "I took on the [persona of the] King, who was my male self. As a young feminist I was interested in what would be my male self…he became my political self." — Eleanor Antin Eleanor Antin, from The King of Solana Beach, 1974, Eleven black-and-white photographs, mounted on board with two text panels, 6 x 9 inches eachhttp://www.pbs.org/art21/artists/antin/index.html

  30. Eleanor Antin, Carving: A Traditional Sculpture, 1972, grid of 144 photographs of her naked body during a month of crash-dieting. Spoof (serious humor) on dieting obsession of post-sixties US women’s culture

  31. Eleanor Antin, 100 Boots: (top) 100 Boots Move On; (bottom) Tree BootsConceptual series of 51 pictures of black rubber boots photographed in various locations from coast to coast across the United States from 1971 to 1973.

  32. Cindy Sherman (US, b.1954) Untitled Film Still #27, 1979, black and white photograph

  33. Cindy Sherman, (left) Untitled Film Still #37, (right) UFS #13, 1979

  34. (left) Cindy Sherman, Untitled #188, Chromogenic color print, 43 ½ x 65 ½,“ 1989 (right) Hans Bellmer (German Surrealist photographer, 1902-1975) 'Poupee' in Hayloft, 1935-1936

  35. Annette Messager (French, b. 1943) My Vows (Mes Voeux), 1988-91, gelatin-silver prints under glass and string, dimensions variable detail

  36. Annette Messager, My Vows, 1990. Gelatin silver prints and string. Dimensions vary with installation, approx.: 140 x 73 inches. Solomon R. Guggenheim Museum, 2007 purchase Catholic votives

  37. Messager, Casino, French Pavilion, 2005 Venice Biennale prize for best pavilion kinetic installation The point here is that conceptual artists are not “photographers” or “installation artists” or “painters,” etc. After the “conceptual turn” of the late 1960s and early ’70s artists have worked in whatever medium best says what they want to say. Interaction (dialogue) is key in such work, but it was of little if any interest to the late modern Abstract Expressionists.

  38. Annette Messager installation from 2001-2 called “articulés/desarticulés,” in which animals and limbs rise and fall while a stuffed dead cow is dragged around the room. “The idea is to confront movement and immobility,” she said, “but people only see the movement.” This installation is from the 2007 retrospective at the Pompidou Center in Paris FYI - Christian Boltanski and Annette Messager have been partners since 1971

  39. (left) Sherrie Levine (US Postmodern Appropriation artist, b.1947) Untitled (after Alexander Rodchenko: 9), 1987 (right) Alexander Rodchenko (Russian Constructivist, avant-garde modernist), 1891-1956), Portrait of Mother, 1924 Postmodern “Appropriation” art challenged modernism’s key values of “originality” and “aura.” Key text: Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

  40. (left) Sherrie Levine, After Walker Evans, 1981 – a photograph of reproduction of a photograph(right) Walker Evans, Hale County, Alabama, 1936. (Or is it the other way around?)Key text: Rosalind Krauss: “The Originality of the Avant-garde and other Modernist Myths” Post-structuralism – postmodern revision of modern theory

  41. Jeff Wall (Canada, b. 1946) Installation view of the exhibition Documenta 8, Kassel, Germany, 1987, showing The Storyteller, cibachrome transparency, lightbox, 1986

  42. Jeff Wall, Picture for Women, 1979, transparency in light box, 163 x 229 cm

  43. (left) Jeff Wall, Picture for Women, 1979compare (right) Edouard Manet, A Bar at the Folies-Bergère, oil on canvas, 1882Interactive gaze and complicity of viewer – art about art and art theory The “painting of modern life” of 19th century avant-garde as defined by poet-critic Charles Baudelaire (French, 1821-67). Retrieval of the interactive subversive intent of mid-19th century Realist painting.

  44. Jeff Wall,A Sudden Gust of Wind (After Hokusai), transparency in light-box, 1993, 229 x 377 cm Art about art – self consciousness Hokusai, Ejiri in Suruga Province c.1831-3, woodblock print from series, 36 Views of Fuji, 26 x 38 cm

  45. Jeff Wall, After Ralph Ellison, Invisible Man, The Preface, 1999-2001, cibachrome transparency, aluminum light box, 76 x 106 x 10 in. Literary source: Invisible Man (1952) by African-American novelist, Ralph Ellison (1913-1994)

  46. Allan Sekula (US. b. 1951), Panorama. Mid-Atlantic, 1993, plate 28, from Fish Story, 105 color photographs, 26 text panels, 2 slide sequences featured in globalist Documenta 11, 2002 “The old myth that photographs tell the truth has succumbed to the new myth that they don’t.” - Sekula Return to social engagement of documentary photography

  47. Sekula, Detail, Inclinometer: Mid-Atlantic, 1993, from Fish Story, 1987-95, “Middle Passage,” chapter 3, plate 27 A “detailed account of the general political and economic transformation brought about by the globalization of late capitalist rule.” - Benjamin Buchloh

  48. Sekula, Third Assistant Engineer Working on the Engine while Underway, 1993, from Fish Story, “Middle Passage,” chapter 3, plate 31

  49. Sekula, Conclusion of the Search for The Disabled and Drifting Sailboat Happy Ending, 1993, from Fish Story, “Middle Passage,” chapter 3, plates 32-4

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