Judy Chicago

The Dinner Party (1979)

Feminist Art

-Carolee Schneemann, “Woman in the Year 2000,” in Theories and Documents of Contemporary Art

Carolee Schneeman

Interior Scroll (1975)

Feminist Art, Performance Art

-Carolee Schneemann, “Woman in the Year 2000,” in Theories and Documents of Contemporary Art

Carolee Schneeman

Interior Scroll (1975)

Feminist Art, Performance Art

-Carolee Schneemann, “Woman in the Year 2000,” in Theories and Documents of Contemporary Art

Adrian Piper

Self Portrait Exagerrating My Negroid Features (1981)

Feminist Art, Black Arts Movement

-Explored racisim in society and how degrees of severity differed in genders

-Adrian Piper, "Ideology, Confrontation and Political Self-Awareness (1981)"

-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade (1985)”

Adrian Piper

My Calling Card #1 (1986)

Feminist Art, Conceptual Art

-Adrian Piper, "Ideology, Confrontation and Political Self-Awareness (1981)"

-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade (1985)”

Vito Acconci

Seedbed (1972)

Conceptual Art, Performance Art

-Acconci hid under a ramp at the Sonnabend Gallery in New York, where he masturbated and articulated his fantasies into a loudspeaker about the visitors that walked on the ramp above him.

-Robert Smithson, “Cultural Confinement”
-Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Vito Acconci

Seedbed (1972)

Conceptual Art, Performance Art

-Robert Smithson, “Cultural Confinement”

-Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Edward Kienholz

Five Car Stud (1969-72)

Installation, Pop Art, Black Arts Movement

-This work is a response to racial tension in Los Angeles in the 1960s and 1970s.  It shows six white men in rubber Halloween masks hovering around a single black victim whose white date vomits in the truck from which the man had been dragged.

 -Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”

-Adrian Piper, “Ideology, Confrontation, and Political Self-Awareness”

Jacob Lawrence

Two Rebels (1963)

Black Arts Movement

-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”

Romare Howard Bearden

Conjur Woman (1964)

Black Arts Movement

-Bearden used collage as a means of piecing together the past in an effort to document African American life.  The woman in this collage is a reference to an individual who used magic as a healing power-- a significant figure in many Southern Negro communities
-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”

Romare Howard Bearden

Black Manhattan (1969)

Black Arts Movement

-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”

Joseph Overstreet

New Jemima (1964)

Black Arts Movement

-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”

Betye Saar

Black Crows in the White Section Only (1972)

Black Arts Movement

-An example of one of Saar's assemblages, a technique that Saar turned to in an effort to emphasize "consensus, and consolidation, and the affirmation and reinforcement of social values and continuity."
-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”

Gordon Parks

Muhammad Ali after the Henry Cooper fight in London (1966)

Black Arts Movement

 -Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”

-Margaret Olin, “Gaze”

Melvin Edwards

Lynch Fragment: Some Bright Morning (1963)

Black Arts Movement

-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade”
-Margaret Olin, “Gaze,”

Robert Morris

Untitled (1967-68)

Process Art, Coceptual Art, Postminimal

-Morris cut the gray felt into strips and tangled the strips as shown. The felt is 1cm thick
- Robert Smithson, “Cultural Confinement,”

Lynda Benglis

Corner Painting (1969)

Process Art, Conceptual Art, Postminimal

 -Margaret Olin, “Gaze”
- Robert Smithson, “Cultural Confinement,”

Joseph Kosuth

One and Three Chairs (1965)

Conceptual Art, Installation

-Robert Smithson, “Cultural Confinement,”

Bernd and Hilla Becher

Water Towers (1980)

Conceptual Art

-Hans Haacke, “Statement (1974)”?

Gordon Matta-Clark

Splitting (1974)

Conceptual Art

-Robert Smithson, “Cultural Confinement,”
-Margaret Olin, “Gaze,”

Gordon Matta-Clark

Splitting (1974)

Conceptual Art

-Robert Smithson, “Cultural Confinement,”
-Margaret Olin, “Gaze,”

Daniel Buren

Untitled (1968)

Conceptual Art

-A photograph of two men walking the streets of Paris in 1968 wearing signboards that display Buren's stripe motif.  The work suggests that Modernist art relies on its context and asks one to question what happens to the work of art when it is removed from the museum context
-Robert Smithson, “Cultural Confinement,”
-Margaret Olin, “Gaze,”

Daniel Buren

140 Paris Metro Stations (1970)

Conceptual Art, Installation

-Buren pasted rectangles of his generic abstractions on the ad-thronged billboards in 140 stations deep inside the Paris subway system. In the photograph shown his work appears in the bottom left-hand corner of the salon-style framed billboard on the left.
-Robert Smithson, “Cultural Confinement,”

Marcel Broodthaers

Muséed'ArtModerne, Département des Aigles, Section XIXe Siècle (1968)

Conceptual Art, Installation
-Hans Haacke, “Statement (1974)”

Marcel Broodthaers

Museum of Modern Art, Department of Eagles (1972)

Conceptual Art, Installation

-Hans Haacke, “Statement (1974)”

Rene Magritte

The Treachery of Images:This is Not a Pipe (1929)

Surrealism, Non-objective, Abstractions

-Underneath the image of the pipe, Magritte painted the text "Cecin'est pas une Pipe" ("This is not a Pipe").  Although the claim might seem contradictory, it is not-- as viewers, we are not in the presence of an actual pipe, but rather we are in the presence of an image of a pipe.
-Hans Haacke, “Statement (1974),”

Michael Asher

Installation at the Art Institute of Chicago (1973)

Conceptual Art, Installation

-Hans Haacke, “Statement (1974)”
-Robert Smithson, “Cultural Confinement,”

Hans Haacke

Shapolsky et al. Manhattan Real Estate Holdings, a Real Time Social System (1971)

Conceptual Art

-The work consists of two maps, one of the Lower East Side and the other of Harlem and 142 black and white photographs and data sheets. Each photograph is accompanied by a data sheet that provides the address of the property, its block and lot number, its lot size, its building code, and other information regarding the owner and the property's history.
-Hans Haacke, “Statement (1974),”

Robert Smithson

Spiral Jetty (1970)

Conceptual Art, Earthworks/Land Art

-Original site @ Great Salt Lake, Utah

 Robert Smithson, “Cultural Confinement,”

Walter de Maria

Lightning Field (1977)

Conceptual Art, Earthworks/Land Art/Site Specific Work

-Lightning Field consists of 400 stainless steel poles with solid stainless steel pointed tips, arranged in a rectangular grid array measuring 16 poles wide and 25 poles long.  Each pole is spaced 220' apart with an average pole height of 20'7" but rising to form an even plane. Walter de Maria is considered an Eartthworks artist, however Lightning Field does not fit into such a classification.

 -Robert Smithson, “Cultural Confinement,”

Georg Baselitz

The Great Piss-Up (1962-63)

Postmodernism

-Laura Mulvey, “Visual Pleasure and Narrative Cinema”
-Margaret Olin, “Gaze,”

Ernst Ludwig Kirchner

Street Scene in Berlin (1913)

Expressionism

Anselm Kiefer

March Sand (1980-82)

Postmodernism, Collage

-Frederic Jameson, “The Deconstruction of Expression,”
-Hans Haacke, “Statement (1974),”

Anselm Kiefer

Shulamite (1983)

Neo-Expressionism, Postmodernism

-Kiefer's painting shows a Fascist architectural scheme honoring the "Great German Soldier."  His paintings typically take issue with the many layers of history, in an attempt "to approach in an unscientific way the center from which events are controlled."
-Frederic Jameson, “The Deconstruction of Expression,”
Hans Haacke, “Statement (1974)"

Julian Schnabel

The Exile (1980)

Postmodernism, Neo-Expressionism

(Appropriation of images)

-Hans Haacke, “Statement (1974),”

Michelangelo Merisi da Caravaggio

Boy with a Basket of Fruit (1593-94)

Baroque Art

-One of Caravaggio's early works, completed in Rome, that shows a half-length figure and a still life of fruit.

Jeff Koons

Made in Heaven (1989)

 Postmodernism

- A billboard showing Jeff Koons and his porn star/actress wife, Cicciolina, in the heat of passion.

 -Hans Haacke, “Statement (1974),”
-Robert Smithson, “Cultural Confinement,”

-Margaret Olin, “Gaze,”

Jeff Koons

Rabbit (1986)

Postmodernism, Neo-Geo

-For this work of art, Koons had an inflated bunny balloon cast in stainless steel and polished.  Koons' work comments on the notion of commodity and value in contemporary consumer culture.
 -Hans Haacke, “Statement (1974),”

Jeff Koons

New Shelton Wet/Dry Doubledecker (1981)

Postmodernism, Neo-Geo

-Composed of four Vacuum cleaners, Plexiglass, and flourescent lights.
 -Hans Haacke, “Statement (1974),”

 Margaret Olin, “Gaze,”

Gerhard Richter

Dead (Tote) from Ocober 18, 1977 (1988)

Postmodernism, Photorealism

-This piece is form a cycle of fifteen paintings which were made to resemble blurry black and white photographs
-Frederic Jameson, “The Deconstruction of Expression,”

Gerhard Richter

June (Juni) (1983)

Neo-Expressionism, Postmodernism

 -Frederic Jameson, “The Deconstruction of Expression,”

Barbara Kruger

You Invest in the Divinity of the Masterpiece (1982)

Postmodernism, Conceptual Art, Collage

-Kruger's photo-based collages deconstruct the voice of power delivered through the images of mass media

-Frederic Jameson, “The Deconstruction of Expression,”
-Hans Haacke, “Statement (1974),”

Michelangelo Buonarroti

Creation of Adam and Ignudi (from Sistine Chapel ceiling) (1508-1512)

High Renaissance, Fresco Painting

3D virtual tour of Sistine Chapel:

http://www.vatican.va/various/cappelle/sistina_vr/index.html

Sherrie Levine

After Walker Evans (1981)

Postmodernism, Neo-Geo

-A photograph of the famous photograph taken by Walker Evans titled "Alli May Burroughs" from 1936.  Levine exhibits the work as her own, raising issues of originality and authorship.  Many of Levine's pieces are re-photographed or re-painted canonical works of Modernist art done by male artists.
-Frederic Jameson, “The Deconstruction of Expression,”
-Margaret Olin, “Gaze,”

Cindy Sherman

Untitled, Film Still #3 [woman in kitchen] (1977)

Postmodernism

-Margaret Olin, “Gaze,”
-Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Cindy Sherman

Untitled, Film Still #14 (1978)

Postmodernism
-Margaret Olin, “Gaze,”
-Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Cindy Sherman

Untitled, Film Still #21 (1978)

Postmodernism

 -Mimicking the staged process shots typical of Hollywood movies (star photographed against fixed background) and shooting from below to accentuate the drama of the captured moment, Sherman impersonates a state of concern or anxiety in the midst of a scene of the utmost banality. The artifice of the construction, including the simulacrum of emotions, places the whole within an ironic frame.

 -Margaret Olin, “Gaze,”
-Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Lorna Simpson

You're Fine (1988)

Postmodernism, Feminist Art

-Adrian Piper, “Ideology, Confrontation, and Political Self-Awareness,”
Laura Mulvey, “Visual Pleasure and Narrative Cinema”
Frederic Jameson, “The Deconstruction of Expression,”

Alfred Hitchcock

Still from Rear Window (1954)

-A wheelchair bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.

 -Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Alfred Hitchcock

Still from Rear Window (1954)

-A wheelchair bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.
Laura Mulvey, “Visual Pleasure and Narrative Cinema”

Lorna Simpson

Five Day Forecast (1988)

Postmodernism, Feminist Art

-Adrian Piper, “Ideology, Confrontation, and Political Self-Awareness,”
Frederic Jameson, “The Deconstruction of Expression,”

Lorna Simpson

Outline (1990)

Postmodernism

-Adrian Piper, “Ideology, Confrontation, and Political Self-Awareness,”
Frederic Jameson, “The Deconstruction of Expression,”

Lorna Simpson

Guarded Condition (1989)

Postmodernism, Feminist Art

-Adrian Piper, “Ideology, Confrontation, and Political Self-Awareness,”
Frederic Jameson, “The Deconstruction of Expression,”

Betye Saar

The Liberation of Aunt Jemima (1972)

Black Arts Movement
Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade,”

David Hammons

Injustice Case (1970)

Black Arts Movement

-"...I feel it my moral obligation as a black artist to try to graphically document what I feel socially."
-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade,”

OBAC

Wall of Respect (1967-71)

Black Arts Movement

-Mary Schmidt Campbell, “The Civil Rights Movement and a Turbulent Decade,”

Yinka Shonibare

Double Dutch (1994)

Contemporary, Post Identity Politics

-Kobena Mercer, “Art that is Ethnic in Inverted Commas,”

Yinka Shonibare

How Does a Girl Like You Get to Be a Girl Like You? (1997)

Post-identity Politics ,Installation

-Kobena Mercer, “Art that is Ethnic in Inverted Commas,”

Adrian Piper

Cornered (1988)

Postmodernism, Installation, Video Art

-Installation composed of video, table, lighting, birth certificates and videotape.  Piper appears on the TV screen from which she delivers a statement to her audience that begins, "I'm black." and goes on to attack the logics of stereotyping.
-Adrian Piper, “Ideology, Confrontation, and Political Self-Awareness,”

Damien Hirst

A Thousand Years (1990)

British Art Revival, YBA, Installation, Contemporary Art

-It is a very provocative work that actually contains an entire lifecycle of several maggots. The maggots hatch out of a minimal white box and then feed on a cow's head conveniently placed in the larger glass case. Some of the flies then die in the "insect-o-cuter" while other survive to continue their rather revolting cycle.

http://www.youtube.com/watch?v=0rESmxFXAd8

Frederic Jameson, “The Deconstruction of Expression

Hans Haacke, “Statement (1974),”

Damien Hirst

Away from the Flock (1994)

British Art Revival, YBA, Installation, Contemporary Art

-Consists of a sheep immersed in a steel and glass box filled with fomaldehyde solution

Frederic Jameson, “The Deconstruction of Expression

Hans Haacke, “Statement (1974),”

Damien Hirst

In and Out of Love (1991)

British Art Revival, YBA, Installation, Contemporary Art

-Five white canvases with pupae, steel shelves with potted flowers, bowls of sugar-water solution, table, radiators, humidifiers, and live butterflies

Frederic Jameson, “The Deconstruction of Expression

Hans Haacke, “Statement (1974),”

Damien Hirst

I Love You (1995)

British Art Revival, YBA, Contemporary Art

-This piece, which consists of emblamed butterflies affixed to a canvas, accompanied Hirst's installation titled "In and Out of Love."

Frederic Jameson, “The Deconstruction of Expression

Hans Haacke, “Statement (1974),”

Sarah Lucas

Au Naturel (1994)

British Art Revival, YBA

-Carolee Schneemann, “Woman in the Year 2000,”
-Margaret Olin, “Gaze,”

Matthew Barney

Cremaster 4, Film Still (1994)

Postmodernism, Video Art, Contemporary Art

-The image shows the artist in the role of the Laughton Candidate, the protagonist of Cremaster 4.
-Margaret Olin, “Gaze,”
-Hans Haacke, “Statement (1974),”

Synopsis of Cremaster 4:

http://www.cremaster.net/crem4.htm

Matthew Barney

Cremaster 4, Film Still (1994)

Postmodernism, Video Art, Contemporary Art

-The image shows the artist in the role of the Laughton Candidate, the protagonist of Cremaster 4.
-Margaret Olin, “Gaze,”
-Hans Haacke, “Statement (1974),”

Synopsis of Cremaster 4:

http://www.cremaster.net/crem4.htm