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10 Cards in this Set
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Tony Smith, Die, 1962 simple forms that minimize relationships between figures within the work as to limit possible references, exemplary of minimalism. industrial self weathering steel does not refer to any artistic tradition |
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Robert Morris, Untitled (Three L Beams), 1965 3 identical forms that visually read as very different because of their positioning in space. they create environment you have to navigate, so they alter the environment. the external syntax of the object. known constant vs experienced variable. |
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Dan Flavin, Untitled, 1969 bulbs dematerialize the corner of the room. his bulbs present a problem because they burn out and the same type aren't made anymore- replacing them alters the art. |
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Laurence Weiner, A 36x36" Removal to the Lathing or Support Wall of Plaster of Wallboard from a Wall, 1968 instructions basically explain how to fabricate the work. three rules- artist may build it, anyone else can build it, work may never be realized. Weiner didn't give a single f*ck about it. Moma hung onto the product (the removal) and photographed it as an object lmao. each of the 3 outcomes is equal in intent, the decision rests on the receiver to carry out the work. Language is the most important part. |
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Richard Serra, Splashing, 1968 this bitch splashed some lead on a wall. process art- increased focused on the material- art is dependent on natural processes and materials to exist, it is in a constant state of making. the splashing is the art. some of his other works hold themselves up continuously or sag over time. |
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Jasper Johns, Flag, 1954-55 Encaustic surface, painterly. Brushstrokes frozen in time. Literal, opposite of abstraction. Said it came to him in a dream. Flat. Flatness is characteristic of formalist painting. however while this is flat it is also a sign- a sign isn't a real object, it is undefined. what is the real american flag? is this a painting, a flag or both? base covered in newspaper, rejection of purity of medium. some tried to criticize it for introducing painterly technique to dada. |
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Richard Hamilton, Just What is it That Makes Today's Homes So Different, So Appealing?, 1956 overcoming boundaries between high and low art with magazine collage. exhibition poster for hamilton's collective. about emerging middle class, seduction in advertising, romance vs hypersexuality, old values cast out. POP CULTURE HAS INVADED THE HOME |
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Andy Warhol, Orange Car Crash 14 Times, 1963 in a world of mechanical reproduction we experience images not in uniqueness but in saturation and overexposure. the shock is dulled by the repetition. unique event of a death is reproduced. second canvas so he could charge more. |
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Andy Warhol, Gold Marilyn Monroe, 1962 An iconic image, background reminiscent of byzantine icons. rothkolike experience of color. pictures of the virgin in gothic times were all reproductions of a few original icons. it no longer matters what the original is, just like in gothic art. the original is insignificant, warhol used reproduction and imitation to comment on the art system and authorship. |
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Roy Lichtenstein, Whaam!!, 1964 simplified version of comic strip image. aesthetic component as opposed to conceptual. decontextualized images. reinterpretation that puts authorship in question? lichtenstein sees himself as a mediator in art between original and comic product. |
