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81 Cards in this Set
- Front
- Back
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1. Lobster Tail and Fish Trap
2. Calder. 3. Member of the Abstraction-Creation 4. shapes evoke Micro and Macroscopic 5. primary and secondary colors symbolize basic building blocks of life. |
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1. Recumbent Figure
2. Moore 3. Influenced by non-western art 4. human form and rock evoke earth goddess 5. equal importance to solid and void |
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1. Sculpture with Color
2. Hepworth 3. Member of the Abstraction-Creation 4. Invested with the unseen forces of nature 5. the shape and fine painting evoke purity |
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1. The Voice of the City (New York Interpreted)
2. Stella 3. flanking center the Broadway 4. Left Hudson River 5. Right Brooklyn Bridge |
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1. Wire Wheel
2. Strand 3. Radical for sharp focus and high contrast 4. Influenced by Cubism 5. Tight cropping flattens the space |
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1. Still from the movie Manhattan
2. Strand 3. Radical for sharp focus and high contrast 4. Influenced by Cubism 5. movie still |
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1. Fort Peck Dam, Montana
2. Bourke 3. sharp focus evokes the machine aesthetic 4. Bourke was a photojournalist 5. this image was the first cover of Life Magazine |
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1. My Egypt
2. Demuth 3. style called Precisionism (American form of Purism) 4. called Immaculates because they used meticulous brushstrokes and precise geometry 5. Influenced by Cubism, but image is not very distorted |
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1. Hot Still Scape for Six Colors
2. Davis 3. wanted to capture the experience of light, speed and space unique to his time 4. Influenced by Synthetic Cubism 5. Influenced by jazz, said his colors represented musical instruments |
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1. Black Iris
2. O'Keeffe 3. Influenced by Paul Strand's photography 4. Extreme close ups evoke abstraction 5. The abstraction suggests female anatomy and sexuality |
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1. Pepper
2. Weston 3. Gave up pictorial photography for sharp focus 4. works evoke images of bodies 5. Influenced by Strand and O'Keeffe |
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1. American Gothic
2. Wood 3. Meant as a window into the midwestern world the artist grew up in 4. The artist put crosses throughout the work to evoke the religion of the area 5. crisp drawing and lines evoke orderly rigidness of the pair |
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1. In the North the Negro Had Better Educational Facilities
2. Lawrence 3. Trained at the Harlem Art Workshop 4. Part of his 60 image Migration series 5. Bright dress and reaching high evoke ideas of elevation through education |
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1. Good Reputation Sleeping
2. Bravo 3. Surrealist photographer 4. The binding and nudity evoke sexuality 5. In Mexican folklore the prickly pear wards off danger during sleep |
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1. Early Sunday Morning
2. Hopper 3. comment on the alienation associated with life in big cities 4. All the different states of the 2nd floor windows suggest the difference of the inhabitants 5. His paintings were distinctly American |
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1. Graveyard, Houses and Steel Mill, Bethlehem Pennsylvania
2. Evans 3. worked for the FSA during the Depression 4. meant to document the suffering of the poor 5. evokes empty life cycle of the american worker |
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1. Migrant Mother, California
2. Lange 3. worked for the FSA during the Depression 4. document the suffering of the poor and impact public opinion 5. This one image caused a rush of food aid to California |
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1. The Liver is the Cock's Comb
2. Gorky 3. developed as a series of reactions from one mark to another 4. 1 theme is the art process itself 5. rejected the Surrealist label not exploring his repressed self |
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1. Autumn Rhythm Number 30
2. Pollock 3. Called gesture, action or allover paintings 4. was a metaphor for the human condition 5. worked on unstretched canvas on the floor |
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1. Woman 1
2. de Kooning 3. complex figure ground ambiguity 4. look spontanious but laboriously crafted 5. repainted this work hundreds of times on the same canvas |
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1. No. 61 (Rust and Blue)
2. Rothko 3. Called Color-field painting 4. Part of the Abstract Expressionism movement 5. artist said he painted the inevitable void of our common future |
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1. Cubi
2. Smith 3. Though 3-dimensional, he meant them to be seen from one viewpoint, like a painting 4. had to order pre-cut pieces of steel 5. burnishing texture gave organic feel because we are reminded of the artist's touch |
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1. Sky Cathedral-Moon Garden Plus One
2. Nevelson 3. Surrealist sculptor 4. evoke the flotsam and jetsam of civilization. 5. painted entire work one color |
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1. Le Metafisyx
2. Dubuffet 3. called his work Art Brut 4. was anti-art 5. revealed interconnectedness of all things in the universe |
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1. Head Surrounded by Sides of Beef
2. Bacon 3. didn't issue a manifesto 4. the pope surrounded by beef 5. how fragile life is |
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1. Odalisk
2. Rauschenberg 3. Rejected Abstract Expressionism 4. intellectual analyses of art 5. Attended The Black Mountain College |
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1. Three Flags
2. Johns 3. painted object that did have or need the illusion of depth 4. part of a series of flags, maps and targets 5. statement is that an image is a sign & painting is an abstract language |
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1. Yard, 1961
2. Kaprow 3. an Environment 4. people were expected to walk through it 5. New School for Social Research. |
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1. Prune Flat
2. Whitman 3. Theater Pieces 4. student of Kaprow's at Rutgers 5. New School for Social Research. |
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1. The Gas Station
2. Segal 3. created representational environments 4. used real people to make castings of figures 5. traditional art symbols, like the clock in void for death |
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1. Drowning Girl
2. Lichtenstein 3. painted Ben Day dots 4. advertisement and comic book imagery 5. Pop Art - mass media imagery |
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1. Campbell's Soup Cans
2. Warhol 3. Pop Art - mass media imagery 4. his studio was called The Factory 5. series of 30 were all flavors at the time |
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1. Just What Is It That Makes Today's Homes So Different, So Appealing
2. Hamilton 3. British Pop Art 4. formed the Independent Group 5. embraced American mass cultural |
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1. Alice in Wonderland
2. Polke 3. called work Capitalist Realism 4. German Pop Artist 5. used photos from mass media and family |
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1. Mountains and Sea
2. Frankenthaler 3. Stain Painting, tilted canvas 4. work on the floor like Pollack 5. influenced the Washington Color School painters |
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1. Red Blue Green
2. Kelly 3. called Hard-Edge Abstraction 4. based his work on shapes he saw in the world, especially negative space 5. in this work figure and ground can be reversed |
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1. Empress of India
2. Stella 3. Canvases are cut to the shape of the piece - no more edge 4. studied at university rather than art school 5. work is more than 18 feet across |
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1. Untitled 1969
2. Judd 3. Minimalist - rely on geometry 4. used unconventional non-art materials 5. boxes built on mathematical premise |
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1. the nominal three (to William Ockham)
2. Flavin 3. a series of serial works 4. Used store-bought flourescent tubes 5. determined by geometric premises |
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1. Untitled 1970
2. Hess 3. Post-Minimalist Sculpture (geometric AND emotional) 4. evokes an organic element 5. fiberglass became her trademark medium |
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1. Corner Prop
2. Serra 3. site-specific art - cannot be removed 4. this is an enormous lead cube held up by only the bar. 5. evokes a sense of danger |
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1. Spiral Jetty
2. Smithson 3. called Earthworks (also Site-specific) 4. meant to slowly deteriorate over time 5. work is 1,500 feet long |
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1. Running Fence
2. Christo and Jeanne-Claude 3. Fund their own work 4. part of the work is the process 5. wrapped things to show essential shape |
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1. One and Three Chairs
2. Kosuth 3. Conceptual Art - art as idea 4. photo is signifier, real chair is signified, and definition is idealized 5.study language and meaning |
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1. How to Explain Pictures to a Dead Hare
2. Beuys 3. felt on left sole = spiritual warmth 4. face painted with gold and honey 5 .art that has to be explained is meaninglessness |
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1. Electronic Superhighway: Continental U.S.
2. Paik 3. Originally a Fluxus artist 4. images related to the state the screen was in 5. The New York only live feed |
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1. Drugstore, Detroit
2. Frank 3. street photography 4. not confined by current rules of painting - abstract expressionism 5. art with a social agenda |
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1. the Prevalence of Ritual Baptism
2. Bearden 3. inspired by MLK Jr.'s '63 march on Washington 4. group project no one showed up so he tore up newspapers and magazines to make a collage 5. based on cubism |
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1. Lynch Fragment Some Bright Morning
2. Edwards 3. a response to KKK lynchings 4. welded relief sculptures 5. studied at USC |
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1. Shield of Quality
2. Saar 3.the beginning of the feminism art era 4. inspired by death of the artist's great aunt 5. evoked the values she handed down. |
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1. The Dinner Party
2. Chicago 3. made by over 400 women 4. feminist art 5. historical feminist names in white floor 6. each place setting honored a significant woman in history who the artist felt had not received the recognition she deserved 7. 919 names of other significant women are inscribed on the white floor tiles in the center |
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1. To The Unknown Painter
2. Keifer 3. Beuy's student 4. uses real materials in his paintings-straw 5. woodcut tomb references German art |
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1. The Exile
2. Schnabel 3. he said he was "the closest thing to Picasso" 4. works are huge 16' not unusual 5. used real objects like antlers |
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1. Horn Players
2. Basquiat 3. street artist using SAMO 4. this work combines poetry and graffiti 5. dealt with social politics like racial identity |
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1. More Than You Know
2. Murray 3. the work combines 10 canvases 4. psychological tension of daily life 5. tension is built through unfinished painting |
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1. The Spell
2. Puryear 3. Post-Minimalist sculpture 4. made of wood and steel 5. allusion to basket making suggest craftsmanship which suggest human presence. |
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1. Vietnam Veteran's Memorial
2. Lin 3. Post-Minimalist Sculpture 4. the dead and missing in action are listed chronologically 5. it is a sharp departure from previous monuments because it is in the ground |
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1. Untitled We Won't Play Nature to Your Culture
2. Kruger 3. appropriates photographs from magazines 4. nature/nurture - gender 5. women marginalized by the art world. |
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1. Untitled Film Still #15
2. Sherman 3. not really film stills-series of photographs 4. how women transform themselves to conform 5. viewer imposes own culture |
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1. Untitled
2. Holzer 3. explored advertising & truth 4. trademark medium is LED signs 5. exposes a us vs them conflict |
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1. Metal Work 1796-1880
2. Wilson 3. colonial silver-slave labor 4. Mining the Museum 5. meant to reveal hidden agenda things |
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1. Michael Jackson and Bubbles
2. Koons 3. art as commodity 4. Conceptual artist 5. artist didn't make- limited edition factory run of publicity photo |
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1. Higher Goals
2. Hammons 3. Conceptual artist 4. 40' high 5. originally installed in harlem |
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1. Insurrection (Our Tools Were Rudimentary, But We Pressed On)
2. Walker 3. influenced by black feminist writers 4. used the silhouette portrait technique previously used by privileged whites 5. these are cut paper installations with projected images 6. the projects cast shadows of the viewers onto the wall, including us in the continuing racism in America |
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1. Untitled (billboard of an empty unmade bed)
2. Gonzalez-Torres 3. a Postmodern artist - issue driven 4. 24 billboards around New York for MOMA 5. he and lover died of AIDS |
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1. Untitled 1990
2. Smith 3. made with beeswax 4. comments on the fragility of life 5. the oozing milk and semen suggests life and nourishment but the skin color and hanging pose suggest death |
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1. Mother and Child Divided
2. Hirst 3. real cows cut in half 4. Minimalist serialism 5. metaphors of life and death |
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1. The Man Who Flew Into Space From His Apartment
2. Kabakov 3. from a series of 10 installations 4. refers to man who wants to escape his life 5. refers to the space race between russia and the u.s. 6. |
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1. The Crossing 1996
2. Viola 3. video installation artist 4. incorporated real objects 5. another video - figure engulfed in flame |
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1. Shanghai 2000
2. Gursky 3. over 9-1/2 fee tall 4. digitally manipulated to emphasize geometry and color 5. evidence of how images are artificial |
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1. Dzesi II
2. Anatsui 3. made with bottle caps & foil 4. luxury textiles 5. travels folded for a "nomadic aesthetic" |
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1. Light Cycle Explosion Project for Central Park
2. Guo-Qiang 3. a Conceptual artist 4. 2008 Olympics 5. says his works are for extraterrestrials |
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Baudrillard
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Because all experience is now a simulation of reality and art uses simulations of reality to communicate it has become useless unless ironic.
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Foucault
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rather than just eliciting responses formulated solely on differing perceptions of what we already know, art can also possess a symbolic cubism in which it functions as a way of questioning how we know what we know.
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Derrida
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he suggests that art may be polysemous like the word crane (a bird, a machine, to stretch your neck to see), therefore it is pointless to try to find a philosophy that explains a singular ‘Art’. He suggests that we should consider that a work can be different things.
Derrida also states that the assumption that everything is subordinate to speech and reason is a Western attitude and that by this assumption Western philosophers develop self-fulfilling arguments that support a Western ideology about art and exclude any other possibility. |
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Korsmeyer
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Feminist art argues that utility (craft), communal production (instead of lone genius) and politics are valid artistic attributes
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Appiah
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Appiah argues that there can be no universal criteria for determining what qualifies as art because all standards are tainted by history and culture, yet he also warns that we should not completely abandon the idea of transcendent values in art because the human experience is an amalgamation of one’s culture and the influence of the other cultures we come in contact with (a hybrid). Therefore art is a reflection of that duality and its transcendent values are universal humanism rather than self vs other.
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Bourdieu
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Bourdieu argues that art can't exist independently of cultural influence. He states that there many agents and their Habitus or cultural capital determine one's position in the art field which means that an artist or art work's value is based on a complex matrix of cultural meaning applied by all the different agents of the art field. He concludes that art can’t be understood without considering it as a social product.
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Danto
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Art is differentiated by meaning. You need the art world to appreciate that meaning
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Dickie
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A work’s status as art is conferred by the informal social institution of the artworld.
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Carroll
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Argues that the institution of Art is composed of several interlocking practices such as Art History, Art Museums, Art Galleries and Art Criticism that work together in varying degrees to define art. He suggests that these influences work to define what is Art in an historical context by either repetition (using the same technique), amplification (using a new technique to make the same statement) or repudiation (rejection of some statement or technique ) of work that came before. He stresses that it is the narrative of the interlocking practices that set a work against what came before and define it as art.
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