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25 Cards in this Set
- Front
- Back
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Sherrie Levine after Walker Evans, 1981
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DEATH OF THE AUTHOR
Appropriation Landmark of postmodernism Critique of commodification of art Elegy on death of modernism Perpetually dashed hopes to create meaning; inability to recapture the past; our own lost illusions |
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Gerhard Richter - Confrontation I, II & III, 1988
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DEATH OF THE AUTHOR
Appropriation & Gender Photo-realisitic painting Traced from slides, magazines and photographic prints Reference to sequence of photographs which were taken at Essen prison after Ensslin's arrest in summer 1972 Confrontation of the subject and confrontation with the viewer Hysterical feminism |
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Glenn Brown - The Day the World Turned Auerbach, 1992
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DEATH OF THE AUTHOR
Parody Remakes & retitles other artists paintings Brushstroke as an object to be gazed at in awe - then mocked Challenges expectations of authorship Rejection of post-war expressionism (gestural painting) Critique of historical period of the 1950s when genuine emotion was equated with thick paint |
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Felix Gonzalez-Torres/Roni Horn
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DEATH OF THE AUTHOR
Appropriation 'Forms from the Gold Field' 1980-82 and Torres 'Untitled' 1995 Minimal form and colour (minimalism) |
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Fiona Foley - HHH #1, 2004
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DEATH OF THE AUTHOR
Parody, Identity, Gender & Post Colonialism Hedonistic Honky Haters (HHH) Series presents an inversion of the KKK and was made when the artist was in NY 2004 Depict African-Americans glaring at the camera, each cloaked in a black hood (opposed to KKK white) with ethnically inspired robes made of Dutch-wax cloth |
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Luke Roberts - Australian Story - 2009
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DEATH OF THE AUTHOR
Parody; Postcolonialism; Identity & Gender |
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Shigeyuki Kihara - Fa'a Fafine: In a Manner of a Woman, 2004-05
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DEATH OF THE AUTHOR
Gender, Identity, Postocolonialism Samoan Interdisciplinary Artist Identity Politics: using signs of a particular identity (gender/sexuality/race bias) to emphasise and critique the universality/metanarratives of the modernist Western art canon Re-addresses the Samoan portrait genre, in which women were posed as reclining South Seas Belles |
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Fred Wilson, Cigar Store Indian Minding the Museum, 1992
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INSTITUTIONAL CRITIQUE
Backs turned to the viewer - reversing the power of the viewer's gaze Close grouping prevents viewer from gaining frontal view of them Robs viewer of freedom to walk around the installation Opposition of typical museum arrangements of space and priority of viewing |
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Marcel Broodthaers, Musee d'art Moderne, Department des Aigles, 1968
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INSTITUTIONAL CRITIQUE
Semi-fictional museum within his home created to challenge institutional norms critiques museological formats and ideas of ownership and classification |
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Damien Hirst, Away from the Flock, 1993
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INSTITUTIONAL CRITIQUE
Outside codes of the museum restaurant art? experience of being present with the artwork installation as central to interpreting the works scientific approach to installation - transparent box |
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Guido van der Werve, Nummer acht: everything will be alright, 2007 (ship in ice with small person at front)
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REPRESENTATION (WK 4)
Gulf of Bothnia, Finland Man is advancing on the crashing ice, ahead of an ice-breaker A small being who can be engulfed anytime by the ice or crushed by the ship Slapstick - aural & visual dislocation - awareness of how simultaneously lonely & absurd life can be and how much solace can be found in abstract forms of expression |
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Patricia Piccinini, We are Family, 2003
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REPRESENTATION (WK 4)
Realism through human hair on the mothers back & arms; leathery skin suggesting age; facial expression &: interaction between pup & mother Representation of a pig with human arms and legs nursing her young & the same emotions appear on the face of the pig a first time mother would have such as maternal anxiety Rationale: no longer a boundary between humans and animals |
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Gustave Courbet, Burial at Ornans, 1849-50
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REPRESENTATION (WK 4)
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Shigeyuki Kihara, The Last Dance, 2006
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OBJECTHOOD (WK 5)
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Kaipel Ka, Shield Series c 1990s
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OBJECTHOOD (WK 5)
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Michael Tuffrey, First Contact, 2012
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OBJECTHOOD (WK 5)
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Robert Mapplethorpe, Louise Bourgeois with Fillette, 1982
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THE GENDERED SUBJECT/OBJECT (WK 8)
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Lara Croft, Tomb Raider 2001
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THE GENDERED SUBJECT/OBJECT (WK 8)
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Judy Chicago, The Dinner Party, 1974-79
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THE GENDERED SUBJECT/OBJECT (WK 8)
Ceremonial banquet, arranged on a triangular table with 39 place settings commemorating important women from history Embroidered runners, gold chalices & utensils and china painted porcelain plates with raised central motifs that are based on vulvar & butterfly forms and rendered in styles appropriate to the individual women being honoured |
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Yinka Shonibare, How to Blow Up Two Heads at Once - Female
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POSTCOLONIALISM (WK 9)
Equality or level playing ground of actors through African clothing worn by all Colonising 'oppressor' as savage Re-working the myth of 19thC European colonial progress and civility Binary Oppostion (role reversal of the saviour/savage myth) Subverting Victorian themes and re-claiming African voices Themes of colonial expansion, imperial history and shifting cultural power Addresses issues of culture, race, identity politics and reconstructed history African inspired fabrics originally made for Indonesia by way of the Netherlands (play on authenticity) Subversion and parody of the affluent yet frivolous European Victorian woman, clad in African fabrics Faceless/headless identities as fractured and silenced in colonial art |
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Tracey Moffatt, Something More #1, 1989
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POSTCOLONIALISM (WK 9)
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Catherine Opie, Vaginal Davis, 1994
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POSTCOLONIALISM (WK 9)
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Dianne Jones, Shearing the Rams 2001
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NATIONALISM & IDENTITY POLITICS
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Gonkar Gyatso, My Identity, 2003
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NATIONALISM & IDENTITY POLITICS
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Anne Zahalka, The Immigrants, 1985
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NATIONALISM & IDENTITY POLITICS
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