Terms in this set (87)
Jesús Soto, Double Transparency, 1950, France
oil on Plexiglas and wood
Soto called this piece a painting; combined the idea of painting with 3d structures. Can't be photographed.
Jesús Soto, Penetrable, 1990, Venezuela
require you to enter the art in order to complete, art is not just the object itself. environment, set of experience
Goldschmidt Gego , Gran reticulárea, Venezuela
adapt the grid - yet she did away with the parallel lines of a traditional grid, something organic and flux. approach to invite dialog with the viewer. not universal or abslute.
Oiticica, Parangolé cape 12: "We live in adversity," 1960, brazil
Incorporating bodies into the work meant to be wore while dancing
no particular ways to wear
emphasizes the interaction between people(a part of the artwork), artwork and surrounding space. Art that is wearable, engageable
Lygia Clark, Walking, 1960, Brazil
Scissors cutting along a Mobius Strip
Pushes the limitations of art. Turning art into a "proposition" .not just an object. translate an abstract form into an experience. de-authoring the work of art
Postwar Modernism and the Discovery of the Third World
Chandigrah: new capital of two Indian states after Indian independence
Le Corbusier, High Court, Chandigarh, India 1950
Corbusier invited by India to design capital complex. Symbolic nation building. India wants to rebuild their image/identity after the British Partition.
Le Corbusier, the High Court 1950
symbolism in High Court roof=modernity ground=tradition column blends the two
Chandigarh, Capital complex, construction from Oeuvre Complete
documenting the narration that tradition progress to modernity. Opposing tradition to modernity
Le Corbusier, The Monastery of Sainte-Marie de La Tourette, Eveux, France, 1950
new obsession with the celebration of material- focus on the texture of things like raw concrete and not on the pure "finish."primary element
Le Corbusier, The Monastery of Sainte-Marie de La Tourette, France, 1950
Le Corbusier, Notre Dame du Haut, Ronchamp, France, 1950
abandons standardized organization, wall as an extension of the body. traditional body move into modernity
distorted view from the inside
Louis Kahn (and Anne Tyng), The Parliament, Dacca, Bangladesh, 1970
symbolic nation architecture, from traditional geometry forms
European modernist ideas + American "good life"(color, individualism,sensual)
utilitarian, commercial(can buy), functional, rational, efficient, easy to manufacture, use new material and techniques
Charles and Ray Eames, Side chair model DCM 1940s
good design exhibition in MOMA. molded plywood and steel rods, good designs: emphasize its materiality and comfort. driving forms from the human body. ("Body comes first") No need to control form here.
Dieter Rams and Hans Gugelot,
Radio Phonograph, 1950s
Reconstruction of postwar Germany. good design should have no ornament, no extra information. focus on reduction to the basic geometric relationship. with a counter styling. ethical design, long lasting product
the only goal of design is to seduce consumers to buy.. commerce terrorism, commercial propaganda.
Upadhyay, Indian Lounge Chair, cotton, teak, 1960
using design modernizing india. local materials, traditional craftsman But people like the Eames say they can still draw inspiration from "traditional" Indian design, which the Indian government doesn't agree with.
Ray and Charles Eames,
presenting a message about themselves (their subversion of gender norms, as free individuals living the good life). fun individuals, childlike
Ray and Charles Eames at home, 1960
House with a Mondrian grid. industrial-like.Interior is decorated with items from their trips. Feels like a very personal expression of themselves, that good design can still be fun. warm and stuffy home
Pierre Koenig, Case study House #21 1960 America
New focus on making spaces that engage with the landscape. Insides that are rigid, defining American conventions of lifestyle and social roles(who live here is the working man and the housewife in this pic).
Philip Johnson, The Brick House, America, 1950
Response to deindividualized universal houses Has no windows, only top lights in order to create a "camp" design, focus on a more erotic nature and a parody of modernist ideals. identity, privacy
How to build your own living structures
A DIY guide
refer to American traditions of living in cabinets
a propose of simple and remote lifestyle, self-actualization and individuality
critiqued as counter-culture and hippi culture
Bellini, Kar-a-Sutra, 1970
Represents a rejection of living life through material and rather through the social and reconnection with others. Design that is social and wacky. A truck for people to live, travel and socialize.
fun, sexual, mobile.
Superstudio, The New Domestic Landscape, 1970 Italy
The design is the landscape itself, nets of energy and information. which will free use from physical structure and anything material. destruction of objects. not live through objects. Nomadism, freedom..design is not about the stuff
Jackson Pollock, Number 1, Lavender Mist, 1950
As "Number 1" Pollock is declaring the creation of a new formal language. his painting that's flat with a new focus on time and scale. inaugurates NYC as the new center of modernity. Pollock becomes a heroic figure.
refuses many formal qualities: composition, form, space...
By Ad Reinhardt
Pollock did everything he could to distance himself from American illustrators.
Jackson Pollock in his studio, Hans Namuth, 1950
represents Pollock as a symbol of freedom with the artist becoming defined through his existential angst. wanting to "express his feelings not illustrate them". performance of painting. picture abstract experience.
Rauschenberg, Canyon, 1960, US
private language to public language. .critique of Pollock and his ideas and engages with a more democratic art. plays with American symbols, combines painting and sculpture. Rejection of division of High/low art division.
Andy Warhol, 100 Cans, 1960 US
superficial, no deeper meaning at all. engages pop culture
depicts consumerism, mass consumption.
repetition &sameness ambiguous response to consumerism.
Louis Sullivan, Chicago Stock Exchange, 1890
Sullivan upset that people aren't embracing the use of new materials at the time. Building represents philosophy that ornament can be used in the right way to aid the material (to "dress" it). Creates a new focus on the "character" of a building which can lead to comfort.
Frank Lloyd Wright, Rrederick C Robie House, 1910, America
Wright begins making buildings like the one above that also emphasizes the character of the landscape (ie making a building on a flat landscape really flat and long).
Frank Lloyd Wright, Weltzheimer House, 1950
Usonian Style,Represents Wright's interest in making a house that forces itself as the middleman between you and nature. (glass corners and angle views)
Richard Neutra's, Kaufmann House, Palm-Spring 1950
Everybody is in need of psychiatry, certainly before yon build a house -- Richard Neutra
Richard Neutra, Lovell Health House, Los Angeles, CA 1930 "Organome"
Neutras take is creating houses about the wackiness of comfort- playing with the strange motions of "in" and "out" like the stairwell pictures
Richard Neutra, Lovell Health House, Los Angeles, CA 1930 "Organome"
I would say that in reality space is not all abstract. Indeed, it is vibrating life itself. Were this not so, it would not stimulate all our senses.
Richard Neutra, Herbert Kronish House, California 1955
Richard Neutra. Chuey House, los Angeles CA, 1960
Neutra also interested in bringing nature into the house (like with the spider legs ("throbbing energy" :/) pictured above) and portraying space of the house not as an abstract concept but as physical ("vibrating life")
Conceptual art and / as politics
Duchamp, Fountain, 1917 USA
challenging the art world with "readymades." Claiming that the act of transformation (removing an object from circulation) makes it art and therefore art is not just about the "thing" but an abstract process.
Kosuth, One and Three Chairs, 1965, USA
Represents an early kind of installation art with pieces in physical dialog with other objects. The art here is philosophical (what is the chair?) and becomes a feedback loop between truth and signification.
Haacke, MoMA Poll, 1970
Making the claim that conceptual art can be grounded in reality and the political. Haacke's art here is based on the Vietnam War issue and turns audience into the participants. Represents an early kind of institutional crit b/c of MoMA's ties to Nixon.
Carnevale, The Lock-Up, 1970, Argentina
Art as a metaphor for the oppression Argentina was facing under its dictator. By drawing the audience in and then locking them in implicates the audience in the current day political and civil rights issues.
Tucuman is Burning, 1968, Argentina
Ambitious project to bring attention to and to critique Argentina's coverup of poor conditions in Tucuman. Installation is made up of documentation and muddles the line of art and politics- is this activism? Art? What is the art here?
Meireles, Insertions into Ideological Circuits: Coca-Coca project 1970, Brazil
Exploring new sites for artistic gestures and taking "readymades" and then putting them back into the world. Expands definitions of art and its encounter with the audience on a daily basis and as a tool to get around censorship.
CADA, No +, 1983-present, Chile
Presents art as an open ended proposition and as accessible by the public (use the No + format and apply it everywhere as graffiti etc) which intersects art and protest into a new hybrid.
Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956
Robert Venturi and Denise Scott Brown, Gothic Revival Chair 1980
Alessandro Mendini, Proust Armchair, 1980, Bau-Haus Collection
Ettore Sottsass, Casablanca Sideboard, 1980,
Anarchy Shirt, Malcolm McLaren and Vivienne Westwood, 1970
album cover, Brody, 1980
Dance Staff for Shango, Nigeria 19th C
Donaldson, Wives of Shango 1970 America
One example of the modern representation of Shango among the African diaspora in America. Donaldson here takes it on as a part of the black power movement and in the civil rights movement. Themes of pan africanism (common destiny united through identity and expressionism)
Donaldson JamPact(for Jamila) 1990.
pan-africanism- black power
Reclaiming Sub-saharan african identity and creating an African american style based on jazz
The idea that African peoples both on the continent and in the diaspora share not merely a common history but a common destiny-- had a resurgence during the Black power movement
Jones. Black Face and Arm Unit. 1970
life-size reproduction of Picasso's Les Demoiselles D'Avignon., but fitted wih an african mask and animared by a television
Critique of modernism. Appropriation/ Originality.
Sokari Hippo Masquerade 1995
Critique of decontextualized museum displays of historic African art forms
Shonibare, Scramble for Africa, 2003, Britain
Represents the Berlin Conference (Where European leaders carved out Africa for colonization and exploitation) but shows the leaders as headless (literally mindless) and dressed in Dutch Wax Cloth (significance of new global trade brought by colonization and white exploitation of non-white markets. .
John Edmonds Tete de Homme 2018 US
Challenges and subverts Man Ray's "Black and White" piece (example of "negrophillia" and racial fear- the spectacle of blackness as a primitive, static thing). Edmonds remakes the black form and gets rid of the oppositional dynamic with color and pivots the gaze of the figure to the
Piper, The Mythic Being: I Embody Everything You Most Hate and Ear 1975 US
The rejection of the label of the "black artist" but rather transforming herself into a "mythic being" (playing with labels and racial signifiers).
Carrie Mae Weems (Left-Right) You Became a Scientific Profile, A Negroid Type, An Anthropological Debate (from From Here I Saw What Happened and I Cried) 1995-1996 PO: US
Subverting the naturalist depiction of slavery which dehumanized the black figure. Weems changes that direction by appropriating the photos and adding the type that implicates history.
Loma Simpson Waterbearer 1986
Theme of black memory being questioned in a negative way- plays with imagery of the scales of justice with the raised arms.
Hank Willis Thomas 2018 PO: South Africa
1492/1992 Identity and (post-) Coloniality
Guillermo and Coco Fusco, the couple in the cage, 1990
Daniel Martinez, Museum Tags, 1990
Glenn Ligon, Untitled (I Feel Most Colored ), 1990
oilstick on paper
Byron Kim, Synecdoche, 1991- present
Part represent whole
Fred Wilson, Mining the Museum, 1990, Maryland Historical Society
institutional critic from within
Chagoya, Tales from the Conquest/ Codex 1990
invert Picasso's decontextualized adoption, adopting western art just by from.
Tayou, Sierra Leone Landscape 2010
Berni Searle Color Me 2000
Kader Attia Oil and Sugar 2007
Kara E. Walker, A Subtlety or the Marvelous Sugar Baby (an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant) 2014
Ann Hamilton, Indigo Blue 1990
Fletcher. A history of Architecture. 1896, 1901,1961
Eurocentric view of art/ globalization
Anna Heringer, METI "Hand-made" School, Bangladesh
reductive concept of community, narrative of happy community. Architecture exist in the museum as a media
Berlin Conference of 1884
African tribes is a modern construction, a colonial legacy. the complexity of history
Koolhass and OMA, Seattle Public Library
architecture not as object itself. partial object. space opens up and transforms.
Koolhass and OMA, CCTV building in Peking
Koolhass, "Lagos" in Mutations
claiming it to be the true speed of capitalism(in organic form). rigid division slows down speed of capitalism. ignoring the historical restriction, complexity of history. a reductive view
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