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Arts and Humanities
Art 365 Final Study Guide
Terms in this set (113)
-Double Negative, 1969
-Levitate Mass, 2012
Walter De Maria
-The New York Earth Room, 1977
-Lightning Field, 1977
Spiral Jetty, 1970
Sun Tunnels, 1977
Fair Park Lagoon, 1981
Snowballs in Summer, 2000
Edible Estates, 2007
The Dinner Party, 1974-1979
Fan of Spring, 1979
Tree of Life (Silhouette Seires), Arbol de la Vida, 1977
Catalysis No, 4 (2 of 2 views), 1970
Interior Scroll, 1975
The Flag is Bleeding, 1967
The Liberation of Aunt Jemima, 1972
Marilyn (Vanitas), 1977
Untitled 119, 1983
Untitled (You Rule By Pathetic Display), 1982
Do Women Have To Be Naked To Get Into The Me. Museum 1989
-Truism, Abuse of Power Come As No Surprise, 1977-79
-From Truisms, 1977, Wooden postcard
Christo & Jeanne-Claude
Wrapped Reichtag, Project for Berlin 1979
Cloud Gate, 2004-2006
Titled Arc, 1981
Vietnam Veterans Memorial, 1982
Nam June Paik
-Video Fish, 1975-1979
-Electronic Super Highway: Continental U.S. Alaska, Hawaii, 1995
Corridor Installation, 1970
Semiotics of the Kitchen, 1975
The Reflecting Pool, 1977-1980
Works, October 25, 26, and 27, 1988
Film still from Queen, 2005
Woman With Dog, 1977
Telephone Booths, 1968
Betty (663-5), 1988
Late Dinner in Dresden, 1983
For the Light, 1978
-Art in Transit (New York City Subway) 1982
Charles the First, 1982
Napoleon Leading the Army over the Alps, 2005
Lick and Lather, 1993
Rebellious Silence, 1990
Higher Goals, 1982
-Artifact Piece, 1987
-Half Indian, Half Mexican 1990
Crazy For Life, 1990
Mining the Museum, 1992
Fusco & Gomez-Pena
Undiscovered Amerindians, 1992
Static Drift, 2001
-New Hoover Convertibles, New Shelton Wet/Dry, 5-Gallon Doubledecker, 1981-1987
-Balloon Dog (Magenta), 1994-2000
Estral Star #1, 1989
After Walker Evans 4, 1981
Piss Christ, 1987
This Little Piggy Went To Market, This Little Piggy Went Home, 1996
House, October 23, 1993, and destroyed January 1994, 1993-1994
Carrie Maw Weems
Untitled (Playing Cards) From the "Kitchen Table Series", 1990
Kara Elizabeth Walker
Grub For Sharks: A Concession to the Negro Populace, 2004
Untitled (Portrait of Ross in L.A), 1991
The Hotel Room #25, 1981
Light Sentence, 1992
Insertions Into Ideological Circuits: Coca-Cola Project, 1970
Butcher Boys 1985-1986
Fish Story; The Rechristened Exxon Valdez, 1990
-One Million Finnish Passports, Rwaanda Project, 1995
-One Million Slides, Rwaanda Project, 1994
-Postcards, Rwaanda Project, 1994
-Reverend on Ice, 2005
Yo Mama, 2003
Play With Me, 1994
Practicing Square Wood Calligraphy, 1996
Forest of DOB, 1994
Spider Couple, 2003
"There is nothing there, yet it is still a sculpture."
Michael Heizer in regard to Double Negative
"The land is not the setting for the work, but a part of the work."
Walter De Maria, from "The Lightning Field: Some Facts, Notes, Data, Information, Statistics, and Statements," 1980
"I met a happy man, a structuralist filmmaker . . ., he said we are fond of you, you are charming, but don't ask us, to look at your films, we cannot, there are certain films, we cannot look at, the personal clutter, the persistence of feelings. . ., he said we can be friends, equally tho we are not artists, equally I said we cannot, be friends equally and we, cannot be artists equally . . . . he told me he had lived with, a "sculptress" I asked does, that make me a "film-makress"? . . . Oh No he said we think of you as a dancer."
Carolee Schneemann, text from Interior Scroll, first performed at the Brooklyn Museum, in 1976, while the exhibition "Women Artists: 1550-1950" was on show
"Femmage: a word invented by us to include all of the above activities [collage, assemblage, decoupage, photomontage] as they were practiced by women using traditional women's techniques to achieve their art - sewing, piecing, hooking, cutting, appliquéing, cooking and the like - activities also engaged by men but assigned in history to women."
Excerpt from Melissa Meyer and Miriam Schapiro, "Waste Not Want Not: An Inquiry into What Women Saved and Assembled - Femmage," 1977-7
"I'm black. Now, let's deal with this social fact, and the fact of my stating it, together. Maybe you don't see why we have to deal with them together. Maybe you think it's my problem, and that I should deal with it by myself. But it's not just my problem. It's our problem. . . . It's also our problem if you think I'm telling you I'm black in order to exploit an advantage, get publicity, or make it big as an artist."
Adrian Piper from "Cornered: A Video Installation Project," originally from 1988, transcribed in 1992
"I don't make portable objects; I don't make works that can be relocated or site adjusted. I make works that deal with the environmental components of given places . . . As [the] phrase implies, site-specific sculpture is one conceived and created in relation to the particular conditions of a specific site, and only to those conditions. To remove Tilted Arc, therefore, is to destroy it."
Richard Serra, Statement from the hearings to remove Titled Arc, 1985
"I don't think it is the function of art to be pleasing. Art is not democratic. It is not for the people."
"Although largely invisible in gallery-based art of the 1980s, by the mid-1990s video suddenly appeared everywhere, as increasingly monumental installations supplanted older, more modest forms like single-channel videotapes. . . . Artworld viewers now encounter all manner of electronically produced moving and still images that we refer to or recognize as "video."
Liz Kotz from "Video Projection: The Space Between Screens, 2005
"You are confronted when you are looking at a painting where you don't have specific images or a figure or a landscape, with something that you are challenged to resolve and unify in some way, because there is a unity there. I keep harping on this; that's what has to work. It has to resolve in secret, almost. There has to be some kind of unification of shapes and colors. And it just may be in a very surprising way."
"Suddenly, I saw it (the photograph) in a new way, as a picture that offered me a new view, free from all the conventional criteria I had always associated with art. It had no style, no composition, no judgment. It freed me from personal experience. For the first time, there was nothing to it; it was pure picture."
"Art lives through the imaginations of the people who are seeing it. Without that contact, there is no art. I have made myself a role as an image-maker of the twentieth century and I daily try to understand the responsibilities and implications of that position. It has become increasingly clear to me that art is not an elitist activity reserved for the appreciation of a few, but for everyone, and that is the end toward which I will continue to work."
Keith Haring, from "Untitled Statement," 1984, published in Flash Art (March 1984)
"The art audience is the worst audience in the world. It's overly educated, it's conservative, it's out to criticize, not to understand, and it never has any fun. Why should I spend my time playing to that audience? . . . I'll play with the street audience. That audience is much more human, and their opinion is from the heart. They don't have any reason to play games."
"Take a Picture with a Real Indian Tonight! America likes to say, her Indian. America loves to see us dance. America loves our religions. America likes to name cars after our peoples. Take a picture with a real Indian. Love one. Take one home."
Audio text from James Luna's Take a Picture with a Real Indian, 1991
" . . . I use the museum as my palette. Curators, whether they think about it or not, really create how you are to view and think about these objects, so I figured, 'If they can do it, I can do it, too.' Everything in the exhibition environment is mind, whenever I organize the space."
"Eurocentrism is different to ethnocentrism. It refers not only to the ethnocentrism exercised by a specific culture, but to the often forgotten fact that the world-wide hegemony of that culture has imposed its ethnocentrism as a universal value, and has persuaded us of it for a long time."
Gerardo Mosquera, from "The Marco Polo Syndrome: Some Problems around Art and Eurocentrism," 1992
"My work will use everything that it can to communicate. It will use any trick; it'll do anything - absolutely anything - to communicate and to win the viewer over. Even the most unsophisticated people are not threatened by it; they aren't threatened that this is something they have no understanding of. They can look at it and they can participate with it. . . . The work wants to meet the needs of the people. It tries to bring down all the barriers that block people from their culture that shield and hide them."
Jeff Koons, from "Full Fathom Five," 1988
refers to a reaction against modernism. It is less a cohesive movement than an approach and attitude toward art, culture, and society. Its main characteristics include anti-authoritarianism, or refusal to recognize the authority of any single style or definition of what art should be; and the collapsing of the distinction between high culture and mass or popular culture, and between art and everyday life. Postmodern art can also be characterized by the deliberate use of earlier styles and conventions, and an eclectic mixing of different artistic and popular styles and mediums.
artworks created by altering a large area of land using natural and organic materials. Earthworks are usually large-scale projects that take formal advantage of the local topography. Were a part of the wider conceptual art movement in the 1960s and 70s.
Revisionist Art History
refers to challenging orthodox views about a historical event, introducing contrary perspectives or reinterpreting motivations
any artwork created by women by assembling objects as by collage, photomontage etc.
the advocacy of women's rights on the grounds of political, social, and economic equality to men.
any art in any media that has been planned and executed with the intention of being staged in the physical public domain, usually outside and accessible to all
an artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the work
a term used describing moving-image artworks recorded onto magnetic tape or digital formats, or generated using other mechanism such as image-processing tools
an art form that comprises visual elements in any medium and the space that they inhabit
a genre of art that encompasses painting, drawing and other graphic media, in which an artist studies a photograph and then attempts to reproduce the image as realistically as possible in another medium
a style of late modernist or early post modern painting and sculpture that emerges in the late 1970s. Characterized by intense subjectivity and rough handling of materials.
new image painting
a loosely defined painting movement whose artists depict everyday objects disassociated from their backgrounds or environments in a simplified representational style
writing or drawings scribbled, scratched, or sprayed illicitly on a wall
visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art vans
the presence of, or support for the presence of, several distinct cultural or ethnic groups within a society.
The Marco Polo Syndrome
political positions based on the interests and perspectives of social groups with which people identify. Identity politics includes the ways in which people's politics are shaped by aspects of their identity through loosely correlated social organizations.
the action of taking something for one's own use, typically without the owner's permission.
NEA (National Endowment for the Arts)
an independent agency of the United States federal government that offers support and funding for projects exhibiting artistic excellence.
a postmodern art movement, founded by the artist Takashi Murakami, which is influenced by manga and anime
The Global Art World
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