Second Terms List

- Marcel Duchamp (USA)
- Fountain (1917)

Significance:
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Terms in this set (44)
- Marcel Duchamp (USA)
- Fountain (1917)

Significance:
Image: - Marcel Duchamp (USA) - Fountain (1917) Significance:
- Ellsworth Kelly (USA)
- Colors for a Large Wall (1951)

Significance:
- His works deal heavily with the idea of autonomy (he doesn't want to make personality paintings)
- While the panting needs the wall for structure, it also blends with the wall; continued idea of autonomy
- He chooses the color/where it will appear randomly. This eliminates personality, increases autonomy
Image: - Ellsworth Kelly (USA) - Colors for a Large Wall (1951) Significance: - His works deal heavily with the idea of autonomy (he doesn't want to make personality paintings) - While the panting needs the wall for structure, it also blends with the wall; continued idea of autonomy - He chooses the color/where it will appear randomly. This eliminates personality, increases autonomy
- Kenneth Noland (USA)
- Whirl (1960)

Significance:
Image: - Kenneth Noland (USA) - Whirl (1960) Significance:
- Helen Frankenthaler (USA)
- Mountains and Sea (1952)

Significance:
- Greenberg (who's also her lover) loves these works
- She applies the paint with the canvas flat on the floor; this allows the paint to truly soak in -- increased sense of flatness
- There are clear forms and choices being made within the work
Image: - Helen Frankenthaler (USA) - Mountains and Sea (1952) Significance: - Greenberg (who's also her lover) loves these works - She applies the paint with the canvas flat on the floor; this allows the paint to truly soak in -- increased sense of flatness - There are clear forms and choices being made within the work
- Ad Reinhardt (USA)
- Abstract Painting, No. 5 (1962)

Significance:
- He took a fine canvas and applied a highly diluted paint to it, done in such a way you can see 9 squares
- He had rules to reach autonomy-- no texture, no brush work, no sketches, no forms -- but then that raises the question, isn't that autonomy in and of itself
- It's not a true monochrome b/c not autonomis
- There's just enough focus on the center to pull attention away from the wall
Image: - Ad Reinhardt (USA) - Abstract Painting, No. 5 (1962) Significance: - He took a fine canvas and applied a highly diluted paint to it, done in such a way you can see 9 squares - He had rules to reach autonomy-- no texture, no brush work, no sketches, no forms -- but then that raises the question, isn't that autonomy in and of itself - It's not a true monochrome b/c not autonomis - There's just enough focus on the center to pull attention away from the wall
- Frank Stella (USA)
- Die Fahne Hoch! (1959)

Significance:
- Building on Micheal Freid's idea of deductive structure
- He pencils in the lines and then paints on the enamel paint (the lines are actually bare canvas)
- The black lines are as wide as the stretcher bars
Image: - Frank Stella (USA) - Die Fahne Hoch! (1959) Significance: - Building on Micheal Freid's idea of deductive structure - He pencils in the lines and then paints on the enamel paint (the lines are actually bare canvas) - The black lines are as wide as the stretcher bars
- Frank Stella (USA)
- Avicenna (1960)

Significance:
- These works follow Greenberg's idea so well, that he realizes that it can't truly work
- The medium is no longer pure
- There is a question of "did the work start at the center or the outside?"
- Greenberg begins to hate the rule's that accompany Stella's work
Image: - Frank Stella (USA) - Avicenna (1960) Significance: - These works follow Greenberg's idea so well, that he realizes that it can't truly work - The medium is no longer pure - There is a question of "did the work start at the center or the outside?" - Greenberg begins to hate the rule's that accompany Stella's work
- Bridget Riley (England)
- Loss (1964)

Significance:
- This "op art" is Greenberg's worst nightmare
- This is not an optical art form, but rather its an active art form
- Kitsch; you don't need taste to appreciate it
- This is EXTREMELY popular though, for a short period of time
Image: - Bridget Riley (England) - Loss (1964) Significance: - This "op art" is Greenberg's worst nightmare - This is not an optical art form, but rather its an active art form - Kitsch; you don't need taste to appreciate it - This is EXTREMELY popular though, for a short period of time
- Simone Forti (USA)
- Slant Board (1960-1961)

Significance:
- In this work people are experiencing AND performing gravity
- This thinks about art in an interactive way; the performers are part of the piece, but they also have to figure out how to work together
Image: - Simone Forti (USA) - Slant Board (1960-1961) Significance: - In this work people are experiencing AND performing gravity - This thinks about art in an interactive way; the performers are part of the piece, but they also have to figure out how to work together
- Robert Morris (USA)
- Green Gallery Exhibition (1964)

Significance:
- The simplicity of the objects draws heavily on how they relate to the room; traditional sculpture often focuses on the object itself
- These works raise questions as well, "Can I walk under here?" "May I sit on this?"
- These are about 1. object 2. light/space 3. viewer
Image: - Robert Morris (USA) - Green Gallery Exhibition (1964) Significance: - The simplicity of the objects draws heavily on how they relate to the room; traditional sculpture often focuses on the object itself - These works raise questions as well, "Can I walk under here?" "May I sit on this?" - These are about 1. object 2. light/space 3. viewer
- Donald Judd (USA) - Untitled (at Hirschorn 1963) Significance: - Similar to Duchamp because he uses a found object - Uses the found dimension - Specific Object: Its job is to be an object among objects, not special but specific- Dan Flavin (USA) - The Nominal Three (to William of Ockham 1963) Significance: - You should explain things up to a point where no further explanation is required (no more, no less) - It's simple, 1st and 3rd light in the corners, 2nd in the middle - No curatorial decisions, there's a rule in place - The dimension varies based on the room size - The work is part of a sequence and works within said sequence- Richard Serra (USA) - Stacked Steel Slabs (1969) Significance: - "fork lift art" this is a less traditional art form; he has it ordered and done for him - could be seen as a correction to Judd's stacks - There are 16 because anymore would've caused the piece to fall apart - Gravity is what holds it together BUT also what threatens to tear it apart- Richard Serra (USA) - Splashing Lead (1969) Significance: - He threw lead in the corner, allowed it to harden, moved it away; it's an imprint of the corner - Lead is a contaminated material (Pollock esce) - This is more physically dangerous than psychologically - Basically a form of casting -- Eva Hess (USA) - Hang Up (1965) Significance: - This sculpture on the wall is a comment on the death of painting; it's like painting, but is sculpture -- has a "gotchya" feeling - A comment against Greenberg and the idea that painting is special and reserved away- Yayoi Kusama (Japanese Artist working in USA) - Self Portrait Collage with Accumulation Couch and Infinity Net (1963) Significance: -- Sol LeWitt (USA) - Open Cube/Corner Piece (1965) Significance: - White is a very transcendent color, least about the object as possible - There is an outline of the shape rather then the shape itself - It's floating which is seemingly impossible, so it's as if it's an idea; objects have weight and mass, but this one does not seem to - Seemingly uninterested in taste and beauty -- it's an idea- Robert Morris (USA) - Document (1963) Significance: - Robert Johnson was slow to pay, so he withdrew his name from the piece - The idea that an artist can make a work valuable by putting their name on it, a piece of them is in the work, so "Can they withdraw that value?" - This is ironic because it actually made the work more valuable- Robert Morris (USA) - Litanies (1963) Significance: - - Robert Johnson was slow to pay, so he withdrew his name from the piece - The idea that an artist can make a work valuable by putting their name on it, a piece of them is in the work, so "Can they withdraw that value?" - This is ironic because it actually made the work more valuable- Lawrence Weiner (USA) - One Quart Exterior Green Industrial Enamel Thrown on a Brick Wall (From Statement series, 1968) Significance: - Is the work the text? - Are you supposed to imagine what it says or read what it says - It's ambiguousReadymade:A found objet (Marcel Duchamp)Deductive Structure:Post-Painterly Abstraction:Kitsch:Opticality:Op:The Responsive Eye:Minimalism:Specific Object:Gestalt:Serliality:Post-Minimalism:Document:Conceptualism:Sol LeWitt Wall Drawing:- John Baldessari (USA) - "This is Not to be Looked At" (1966-1968) Significance: - It's kind of unknown what's not to be looked at; Is it the ArtNews magazine or his piece as a whole? - He hired a professional print writer to do the text; his work in the piece is minimal - We only get the info from the piece by looking at it - Greenberg's idea of opticallity is challenged here -- he believed that art/painting was for viewing - Work almost represents a polaroid (popular at the time)- Robert Smithson (USA) - "Monuments of the Passaic" (1967) Significance: - This deals with the idea that paintings are often recalled from the past, from what's left behind - If what we are leaving is all this shit/disgust, that's what art will be in the future - Not only will we be gone, our monuments will destroy us- Robert Smithson (USA) - "Spiral Jetty" (1970) Significance: - The work has been made and cannot be unmade, only time will decide how it lasts - Time isn't something art holds at bay, but rather something that it enacts - Should it be protected? -- Not really, that kind of defeats the purpose of it.Land Art:Art that is created as part of the earth.Site Specificity:The extent to which works engage the site and make them part of the work.Yoko Ono (Japanese working in USA) "Cut Piece" (1964) Significance: - There are few instructions - It produces a troubling picture of the way people sometimes behave; the mob, in many ways, become a mob/ aggressor - She's, in a way, taking the stance of a passive Japanese women - She's also just flat out brave here- Joseph Beuys (German) - "Explaining Pictures to a Dead Hare" (1965) Significance: - He tells this story about how his plane was shot down during WWII and the Tartar's nursed him back to health; In his works he uses pieces that he claimed they used to save him (felt etc) - This ideas with the idea of myth creation, "How can an artist rewrite history?" - The gold on his face is representative of alchemy from the lead on his foot -- Artists can create gold - The dead hare is like a student, "Can you even explain art to them? Should you even try?"Fluxus:Event Score: