• Resisting the consumer culture from the inside. Not a celebration.
• Consumer products from supermarket and placed them together in aesthetically appealing ways.
•  Bold detergent (laundry). Bold design red and black.
• Taking materials from consumerism and turning into art
• Taking something low and making it high. Aesthetic possibilities of things in supermarket. Not a celebration. This is the world we live in. Consumer society. Lets make the best of it.
• Purely aesthetics

Kenny Scharf, The Fun's Inside, 1983, Neo Pop

• Inspiration are the cartoons of his childhood, by Hannah Barbera.
• Childlike innocence.
• Back to the world of caroons. Sweet, funny, innocent, purely delightful, magic world.
• Retreat from the world of maturity. 
• Not works for children, works for adults who momentarily want to revert to the world of childhood. 
• Mouth is open, fun is inside. Its an escape.

Koons, Made in Heaven, 1990, Neo Pop

• With wife Llona Staller, A.K.A. Cicciolna
• Making love; Made in Heaven is a pun
• Supposed to be the Garden of Eden (serpent).
• Celebrating innocent sex, no matter how pornographic it is. 
• Ultimately Koons is a Salesman; Great at selling his work!
• Interested in fame and money. (Only interested in Sex, Fame, and Money)
• Great at creating controversy. Critics will take the bait, and will write about it.
• Conceptual art: comes up with the idea. 
• From photographs he is ordering large paintings/large sculptures.

Koons, Pink Panther, 1988 (edition of 3), Neo Pop

• He said it was about her taking him home to masturbate. 
• Is it him or is it fake to get notoriety?
• Hired people to make large reproductions of Kitsch.
• Kitsch appeals to the masses
• Made out of ceramics
• Attention to become successful; publicity is what matters. Controversy brings popularity.
• Embraced Kitsch. The most thoughtful people, hated it. 

Koons, Hoovers, 1980, Neo Pop

• Form of appropriation
• Placed inside a plastic box
• Commentary on minimalism. Conceptual art form.
• Commenting on the techniques and the aesthetics.
• Cold, industrial aesthetic.
• Minimalist aesthetic: Clean, New, Industrial, Impersonal 
• Celebration of Industrialism
• Taking what was implicit in Minimalism and making it Explicit; by doing so he is making fun of it (a critique of minimalism) 
• Parody of minimalism; subtle commentary; was not received well.

Richard Prince, Marlboro, 1977-79, Neo Pop

• Re-photographed images from advertisements. 
• Texts are taken out, Image ENLARGED.
• Refused from Art School; Worked for Time Magazine in NY; his job was to cut out images from the articles, saving just the articles. After work he would end up with many pictures and realized how much they meant to him and how he related to them.
• Appealing to men, meant to influence them
• Ridiculous notion that if you smoke this cigarette you will be macho.  
• You do not think about it. By enlarging the image you can realize how ridiculous the notion is and also makes you think about masculine identity. Oppositional and Thoughtful

David Salle, Coffee Drinkers, 1973, Neo Pop

• Looks like ads, but it isn't
• Not glamorous
• Isolated, on edge of lonliness
• Everyday, quiet, empty, lonesome moment
• Strongly conceptual
• Difference between life and advertising

1975 essay by Laura Mulvey, in which she explains how Hollywood films help construct feminity.

It is the power of representation.

What it means to be a woman.

• housewife

Sherman, Untitled Film Stills, 1977-79, Femanism

• Most famous work; does not come from actual films, they are meant to evoke 50s films.
• She is ALWAYS the HERO in the work. She is the star. She is the director. She is the set designer. She is the costume designer. She is the script writer. These are HER films.
• She is taking CONTROL, and mastering her situation. The stills are the answer to her problem. They serve a strong psychological purpose. Opposite of what she is depicting.
• Each photo took a few weeks to figure everything out. Carefully chose details that are clear enought to show she is a small town girl coming to the city. 
• She wants a real job. Fearful/Overwhelmed facial expression. Naive, "Girl in trouble"
• Attempting to conquer the modern world. She is in the big city.
• From Buffalo, NY. She went to college. Loved to dress up all of her life. Wore crazy outfits at parties in college. She moved to NYC with boyfriend. Felt overwhelmed. Stayed in the apt except to go to movies. 
• On one level this is her, a self portrait. Only thing that made her feel safe was a a man. She needs a man.
• Make fun of those female roles and stories of women who can't make it without a man. 
• Making fun of the feminist dimension. Bringing attention to how films construct female identity.
• Strong PLAYFUL dimension, dressing up. She acknowledges that this is dress up/play. Sometimes the play element is really intense in her work. 
• Personal transformation and Social commentary

Barbara Kruger, Your Gaze Hits the Side of my Face, 1981, Neo Pop

• The gaze is the male gaze.
• Male gaze became a very popular phrase; loaded phrase.
• Objectification of females from the male look. 
• Men tend to look at women as objects. Women are there to be seen. Women are there for the men.
• Use advertising against advertising. Magazines objectify women. 
• Female turned into a statue (object)
• Educated women on how allowing themselves to become an object is dehumanizing

Judy Chicago, Dinner Party, 1974-1979, Feminism

• Life size, huge triangular platform, has the name of 999 women from history.
• On top are place settings for 39 women. 13 on each side. (# of people at the last summer, which no females attended AND the # of witches in a coven)
• Triangular shape (french revolution, equality), traditional shape of the female.
• Not famous women from history, but from Herstory.
• History lesson how many important women have been neglected in the past.
• Took four years to prduce, and was made collaorately. Men work in a singular fashion. Women work together.
• Fabric was used for place setting. 
• Over half the pieces were vaginas; We are different because our bodies are different.
• Function: Elevate women, change their place in the world; Status of equality. Seperate but equal

Miriam Schapiro, Heartfelt, 1974, Femanism

• Male media and female media. Strong sense of male vs. female.
• Thought minimalism as typically male. Male sensibility. Cold and Hard. Rational? Heartless. Sculpture and painting.
• Female medium, fabric. Beautiful and Decorative. Flower patterns, center is a heart, Sentimental nature of women.
• Very strict dualism. 
• Shaped like a house. Where women have expressed their aesthetic concerns. Spend a lot of time and money expressing their domain on the house. 
• Promote and celebrate a distinct female sensibility.

Name Miriam Schapiro gave to her painted collages.

Most important early feminist art historian.

Why are there no Great Women Artists?

Now there are art historians dedicated to feminist artists and feminist issues.

Robert Smithson, Spiral Jetty, 1970, Post-Minimalism (Earth Art)

• Earth art, 1500 ft of roadway that he built out into one of the great salt lakes in Utah. In the middle of the desert.
• Constantly submerging and reemerging. When it reemerges it returns in a more entropic state.
• There is a group dedicated to repairing it when it reemerges.
• Some believe it should be left alone and fall apar. But it is supposed to be repaired. The piece is about the history of things coming and going. 
• Chose the spiral because it is the most fundamental shape in nature; from galaxies to genomes. Most natural shape. By it's definition is a dialectical shape, come in and comes out. Construction and Destruction. Coming and Going. 
• Time is not linear, it is spiral.
• Simple minimalist shape. Anti minimalist because of the reaction toward the gallery. Museums are cemetaries, nothing is going on there. Purpose of Art was to bring you back to the fundamentals of life. We, Us, Nature coming together.
• Really difficult to find, stays out for around 5 years. 
• Average spectator doesnt spend much time looking at art. Earth artists wanted their art to take time to see. 
• Anti 1.5 second art.
• Made it for the public, wanted them to take the time to go see it. He made a movie about it. Exhibition.
• Mostly conceptual, they know it from reproductions. 
• Instructional; fundamental nature of life as it is.

Christo and Jeanne-Claude, Running Fence, 1972-1976, Post Minimalism (Earth Art)

• Art is a retreat from the world. Get the art back into the world. Brings art back into nature and into the society. 
• Beautiful; works in harmony with nature.
• 18 ft tall, 24 1/2 miles long. Size of Berlin wall, which stands for seperation.  
• Across two counties and into coastal zone
• This was ANTI BERLIN WALL. Brings people together and brings harmony in a world that is fractured.
• Wanted to involve as many people as he could. County commissioners, college students, ranchers, Coastal commissioners.
• Cost between 2-3 million dollars. Sold sketches for the piece and other forms of art to afford it.
• Educational and Social mechanism. Beautiful for the public. Art for the masses.
• Art in the middle of culture; in the middle of people's lives.

Baldessari, Fire, Money, Water, Sex, 1984, Post-Minimalism (Post-Conceptualism)

• Preoccupied with death.
• Figures from the street. Figures of death. Synopsis of the entire theme.
• Skinny, made out of common materials. Burned on edges. Made out of discarded items. Identified with Munch, Scream.
• Moved to celebration of life in pop pieces.

Rosenquist, I Love You with All of My Ford, 1961, Pop

• Originally titled, I Used to Have a 50
• Three things from advertising
• 1950 ford, not a new ford (MASCULINE, car)
• Combined with an image inspired by a movie -lovers in bed
• Bottom- Franco America Spaghetti (FEMININE, curves)
• Distinctions between male and female
• SAD: things not cohering, they are together, but not.
• Belongs to the school of Rauchenberg
• A collaged imagery that does not cohere; a sense that the world that we live in is not coherent.
• Truth of our experience; Truth of modern experience.
• We live in a world where a large amount of different things are going on at the same time. Rauchenberg/(Rosenquist) response is to accept that.
• Living in a world that doesn't make sense.
• His works are surreal -> movement celebrating the unconcious/irrational.
• Reference to love; title is very touching.
• Sense of dislocation to him. Used to know all of the cars until he moved to New York and didn't know any of them.
• For himself

Different style of art being used at the same time?

Nonfiction book by Betty Freidan in 1963, sparked the second wave of feminism. Evaluation of the housewife.

acceptance of modernity; not celebrating, just accepting.

difficult to define, because we aren't quite sure what modernism was. 

modernism was the reaction against modernity

Art of the avant-garde. (elite that lead the way)

Notion that there is a mainstream.

Presumes progress.

Progress presumes order

To live in a modern world is to live in a world of strangers.

Modernism began from an examination of modernity.

Rothenberg, Mondrian Dancing, c 1983, Bad Painting and Photography

• Conceptually smart, understands that Mondrian like to do is dance. One of the few human qualities he had, but he was a terrible dancer.
• Mondrian made perfection, but he was imperfect.
• Comments on modernists perfection/ or their ideal of perfection.
• He wanted to be perfect, but he wasn’t.
• Painted crudely and awkwardly
• Paint handling is expressive.

Salle, Miner, 1985, Bad Painting and Photography

• Depressed miner, with what looks like two bullet holes at the top.
• Typical; two sides that juxtapose each other, about disconnection.
• A world that doesn’t cohere. World doesn't make any sense. 
• Rauschenberg without the fun.
• Not painted well;Expressive
• Acceptance that the world is sad and imperfect

Mysterious in a weird way

Fischl, Time for Bed, 1981, Bad Painting and Photography

• Root of his own art is his own experience
• Grew up in a broken family in the suburbs.
• Work reflects on his unhappy childhood
• Not precisely autobiographical, but generally autobiographical.
• Image of a suburb home having a party. Time for bed.
• Parents having a fight because mom is an alcoholic. Dad is imperfect, one arm. Mom spilling drink on dad. Mom using sexuality to try to calm dad down.
• Girl is learning how to be a femme fatale. Boy heading to bed because they will be in no mood to say goodnight. He will go to bed to cry, because he is not superman.

Levine, Fountain, 1991, Endgame

• Duchamp, Fountain, 1917
• Duchamp is the father of the work she is creating. Conceptual Art. First copyist.
• Duchamp was a real Pessimist.
• Anti-modernist; art was a game to Duchamp. He was an early example of Post-Modernism.
• Appropriated a work from the first appropriator
• Gold plated; to make as much money as she can, and she highlights how famous Duchamp’s work has become famous. How Duchamp’s work has become expensive, and taking advantage of it and making a profit herself.
• Art is a career to her, it’s to make money.

Lawler, Pollock and Tureen, 1985, Endgame

• Detailed images of art, and how art is used
• How Pollock’s painting is used; decorative.
• They look good together.
• Decorative object looks good with other decorative objects.
• Pollock wanted to make a difference and put us in touch with nature, but art has become just a decorative detail.
• Conceptually deflationary. Deflates Pollock, and also deflates the photo.

Michals, The Enormous Mistake, 1976, Bad Painting and Photography

• Why did he commit the sin, desire/TEMPTATION
• He feels guilty because he is gay
• Imperfect handwriting, handwriting is expressive
• Shoes are the symbol of the event.
• Take shoes to river, will rid him of guilt.
• Wants to wear the boots one more time.
• Record of fundamental weakness, desire overwhelmes determination.
• Human condition after the fall; catholic vision. 
• Forgiving himself

Guston, Studio, 1969, Bad Painting and Photography

• crude figuration. 
• Subject is himself, about his flaws. 
• He is a bad painter and a bad person
• Expressive; chose to paint this way because he is a bad person. 
• Artist wearing a KKK
• Not proud, just acknowledging that he is racist
• Tells us about his own imperfections. 
• Confessional piece