Comprehensive

Front 1

Back 1

Willem de Kooning, "Woman I" 1950-52, USA

1. Abstract Expressionism. Rosenberg's Champion.

2. Used scrape-layer workflow.

3. Among first to bring figure back to Ab-Ex

4. Is not supposed to be "sexy"

5. "art never makes me feel peaceful or pure"

Front 2

Back 2

Jackson Pollock, "Number 8, 1949" 1949, USA

1. Ab-Ex

2. The paintness of the paint. Greenberg's Champion.

3. Not trying to pretend it was made by God.

4. He knows how the paint works, his work isn't accidental.

5. It's peripheral and goes outside and around the canvas.

Front 3

Back 3

Barnett Newman, "Onement I" 1948, USA

1. Color-Field

2. Everyone can feel sublime when standing on edge of cliff...

3. Straight line is "zip"

4. Tied it to Genesis 1

5. Ground is earth, zip is Adam

Front 4

Back 4

Barnett Newman, "Vir Heroicus Sublimis" 1950-51, USA

1. Zips were potentially characters, Jews stepping out

2. Statement about humanity

3. Huge 18ft canvas with large field of red

4. Brush strokes imperfect

5. Invokes infinity

Front 5

Back 5

Mark Rothko, "Old Gold Over White" 1956, USA

1. Simple, direct title, compared to other color-fieldists

2. Shapes are fundamental ideas, not objects

3. Universal

4. Liked idea of the surreal

5. Still imperfect

Front 6

Back 6

Mark Rothko, "Rothko Chapel" 1964-67, USA

1. A meditative space

2. No specific religion attached

3. Universal

4. Neutrality

5. No natural light

Front 7

Back 7

Robert Motherwell, "Open #150 in Black and Cream (Rothko Elegy)" 1970, USA

1. Tribute to Rothko after suicide

2. Horizontal instead of vertical format

Front 8

Back 8

Robert Rauschenberg, "Erased de Kooning" 1953, USA

1. Development of his "White Paintings", viewer becomes work of art.

2. Took two months to erase.

3. Jasper Jones typed the label.

4. Permission from de Kooning was received unlike original dadaist

5. Neo-dada

Front 9

Back 9

Robert Rauschenberg, "Bed" 1955, USA

1. Real objects, made into "art"

2. Combine, sculpture+paint

3. Makes fun of ab-ex because it focused on unconsciousness, here is that arena

4. He spent time with ab-ex'ers, knew what he was doing with this

5. Merging high-art with common-life

Front 10

Back 10

Robert Rauschenberg, "Odalisk" 1955-8, USA

1. Contemp Culture selling sex in strange ways

2. This does too, with "cock", penetrating pillow, and turn-on switch

3. Can't be told that it is a single medium, anti-greenberg, anti-formalism

Front 11

Back 11

John Cage, "4'33"" 1952, USA

1. Any sound is music

2. Art in noise of silence

3. Requires any audience to work

Front 12

Back 12

John Cage and Merce Cunningham, "Variations V" 1965, USA

1. Music produced by Theramin, dancing past poles

2. Artfully composed, videoed

3. Avante-garde

4. Almost performance art, have to be there or see each one to experience it

Front 13

Back 13

Jasper Johns, "Target with Plaster Casts" 1955, USA

1. Non-universal

2. Colors represented emotions, Anger, Calm, Jealous

3. Combine, anti-Greenberg

Front 14

Back 14

Jasper Johns, "Painted Bronze" 1960, USA

1. High-art material, common object

2. Same but different

3. Could be tied to Warhol

4. Semiotics = Science of Language

Front 15

Back 15

Allan Kaprow, "18 Happenings in 6 Parts" 1959, USA

1. First public happening

2. Coined term in "The Legacy of Jackson Pollock"

3. Blurs lines between common life and art

4. Take-away is that all life is art

Front 16

Back 16

Claes Oldenberg, "Floor Cake", 1962, USA

1. Painted soft-sculpture, anti-formalism

2. Looks like food but is art

3. Surrealism-inspired

4. Commoners liked it, critics didnt

Front 17

Back 17

Eduardo Paolozzi, "Real Gold" 1950, England

1. Collage, collected from soldiers

2. Turns woman into item rather than person

3. BUNK

4. Beauty of the mundane

Front 18

Back 18

Richard Hamilton, "Just what is it that makes today's homes so different, so appealing" 1956, England

1. Signs tell stories

2. Part of "Tomorrow Exhibition", earth in sky

3. features tech breakthroughs and old standards

Front 19

Back 19

Andy Warhol, "32 Campbell's Soup Cans" 1960-61, USA

1. Commercial product turned art

2. Created by hand, except fleur-dis-li

3. Location of art changes its meaning

4. Fine art materials, common subject

5. Wanted to be mechanical

Front 20

Back 20

Andy Warhol, "Gold Marilyn Monroe" 1962, USA

1. Replaces Mary with Marilyn

2. Screen print on gold paint

3. Bad colors, poor registration, not life-like representation

4. Workshop was "The Factory"

Front 21

Back 21

Roy Lichtenstein, "Drowning Girl" 1963, USA

1. Based on DC Comics "Run for Love"

2. Converts comic art to fine art

3. Replicates bendai dots

Front 22

Back 22

Roy Lichtenstein, "Rouen Cathedral" 1969, USA

1. Redo of Monet's series

2. Bendai Dots

3. Mechanical yet handmade

Front 23

Back 23

James Rosenquist, "Marilyn Monroe I" 1962, USA

1. Distorted photos

2. Commercialism, she is same as coke

3. Just as distorted as de Kooning

Front 24

Back 24

James Rosenquist, "F-111" 1964-56, USA

1. Oil, Canvas and Aluminum

2. Lots of American cultural references

3. Whoever buys it will pay for a bomber in taxes

4. Not just anti-war

Front 25

Back 25

Frank Stella, "The Marriage of Reason and Squalor" 1959, USA

1. Rhythm

2. House brush, commercial paint, common

3. anti-dimensional

4. No symbolism apart from title

Front 26

Back 26

Frank Stella, "The Empress of India" 1965, USA

1. Created in pieces, perfectly assembled

Front 27

Back 27

Donald Judd, "Untitled (Stack)" 1967, USA

1. Rhythm

2. Designed by him, manufactured by someone else, point to Warhol

3. Is what it is, not trying to be something else

Front 28

Back 28

Tony Smith, "Die" 1962, USA

1. Artist hand removed, phoned in the order

2. Outdoors interact with environment

3. Purposefully ambigious

Front 29

Back 29

Walter de Maria, "The New York Earth Room" 1977, USA

1. Land Art

2. Experience all senses in art

3. The land before the high-rise

4. Viewer constructs the experience

Front 30

Back 30

Walter de Maria, "Lightning Field" 1977, USA

1. Lightning rods

2. Vastness in vastness

Front 31

Back 31

Robert Smithson, "Spiral Jetty" 1970, USA

1. Created in environment and left alone

2. Nature takes its course

3. Constantly changing

4. Artist hand removed

5. Interactive

Front 32

Back 32

Martha Rosler, "Semiotics of the Kitchen" 1975, USA

Front 33

Back 33

Martha Rosler, "Bringing Home the War: House Beautiful" 1967-72, USA

Front 34

Back 34

Nancy Spero, "Rifle/Female Victim" 1966, USA

Front 35

Back 35

Faith Ringold, "Who's Afraid of Aunt Jemima" 1983, USA

Front 36

Back 36

Betye Saar, "The Liberation of Aunt Jemima" 1972, USA

Front 37

Back 37

Romare Bearden, "Roots" 1977, USA

Front 38

Back 38

Romare Bearden, "The Dove" 1964, USA

Front 39

Back 39

Sherrie Levine, "After Walker Evans" 1981, USA

Front 40

Back 40

Richard Prince, "Untitled (Cowboy)" 1989, USA

Front 41

Back 41

Cindy Sherman, "Untitled Film Stills, #21" 1977-80, USA

Front 42

Back 42

Philip Guston, "The Studio" 1969, USA

Front 43

Back 43

Philip Guston, "City Limits" 1969, USA

Front 44

Back 44

Keith Haring, "Untitled" 1982, USA

Front 45

Back 45

Jean-Michel Basquiat, "Boy and Dog in a Johnnypump" 1982, USA

Front 46

Back 46

Jenny Holzer, "Truisms: The Abuse of Power Comes as No Surprise" 1982, USA

Front 47

Back 47

Guerilla Girls, "Do Women Have to Be Naked to Getinto the Met Museum?" 1989, USA