Prebles Artforms An Introduction to the Visual Arts

Prebles' Artforms An Introduction to the Visual Arts ELEVENTH EDITION CHAPTER 24 Postwar Modern Movements Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Learning Objectives 1. Identify the historical conditions that affected art in the United States after World War II. 2. Discuss Abstract Expressionism and distinguish examples of action and color field painting. 3. Recognize Assemblage, Happenings, and Events as artforms that blurred the line between art and life. 4. Describe common techniques and themes characteristic of Pop Art. Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Learning Objectives 5. Explain the interests and stylistic features of Minimalism. 6. Express the importance of the artist's idea in Conceptual art. 7. Survey artistic formats, such as Earthworks, Installation, and Performance art, which remove art from its traditional context. 8. Demonstrate the influence of feminist thought on postwar art. Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Introduction • Following World War II § Whatever an artist did became art • Period of restless § Europe in ruins • Millions of deaths • Prominent artists fled to the U. S. • Modernism finds new home in New York § Living in a world that had the power to destroy in minutes Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

The New York School • Abstract Expressionism § Culmination of Fauves and German Expressionists § Realms other than representation and narrative § Jackson Pollock • Painted for the age of the "atom bomb and the radio, " leading to innovative techniques • Dripping thin paint onto canvas Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Rudolph Burckhardt. Jackson Pollock Painting in East Hampton, Long Island. 1950. Gelatin silver print. Photograph © Rudolph Burckhardt/sygma/Corbis. [Fig. 24 -1] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

The New York School • Abstract Expressionism § Jackson Pollock • Autumn Rhythm (Number 30) • Action painting • Controlled, dancing movements to place paint § Willem de Kooning, Woman and Bicycle • Huge painting with a ferocious female • Toothy smile repeated in necklace Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Closer Look: Jackson Pollock, Autumn Rhythm Video: Jackson Pollock at Work Web Resource: Jackson Pollock. Autumn Rhythm (Number 30). 1950. Oil on canvas. 105" × 207". The Metropolitan Museum of Art George A. Hearn Fund, 1957. Acc. n. : 57. 92. Image copyright The Mo. MA/Art Resource/ Scala, Florence. © 2013 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York. [Fig. 24 -2] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Willem de Kooning. Woman and Bicycle. 1952– 1953. Oil on canvas. 78 -1⁄4" × 50 -5⁄8" × 2". Whitney Museum of American Art, New York; Purchase 55. 35. © 2013 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York. [Fig. 24 -3] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

The New York School • Abstract Expressionism § Norman Lewis • Social realist style based on urban poverty in his Harlem neighborhood • Untitled • Shift from social realism toward a spontaneous and improvisational style • Shows traces of city life Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Norman Lewis. Untitled. c. 1947. Oil on canvas. 30" × 35 -1⁄2", signed. Private collection. Courtesy of Michael Rosenfeld Gallery LLC, New York, and Landor Fine Arts, N. J. [Fig. 24 -4] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

The New York School • Color field painting § Color field • Large areas of color with no obvious structure, central focus, or dynamic balance § Mark Rothko • Early pioneer • Blue, Orange, Red • Superimposed thin layers of paint • Sensuous appeal Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Discovering Art: Introduction to Mark Rothko. Blue, Orange, Red. 1961. Oil on canvas. 90 -1⁄4" × 81 -1⁄4". Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of the Joseph H. Hirshhorn Foundation, 1966. HMs. G 66. 4420. Photograph: Lee Stalsworth © 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York. [Fig. 24 -5] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

The New York School • Color field painting § Helen Frankenthaler • Straining technique • Paint texture eliminated by coaxing liquid colors into shapes on an unprimed canvas • Fluid, organic shapes • Mountains and Sea • Spontaneous work painted in one day Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Helen Frankenthaler. Mountains and Sea. 1952. Oil and charcoal on canvas. 86 -5⁄8" × 117 -1⁄4". Collection: Helen Frankenthaler Foundation, Inc. (on extended loan to the national Gallery of Art, Washington, D. C. ). © 2013 the artist/Artists Rights Society (ARS), New York. [Fig. 24 -6] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

The New York School • Color field painting § Elegy to the Spanish Republic • Heavy black shapes crush lighter shapes behind • Destruction of Spanish democracy by General Franco in the 1930 s § David Smith, Cubi series • Cubist framework with elemental energy • Based on masses and planes balanced above viewer's eye level Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Robert Motherwell. Elegy to the Spanish Republic No. 34. 1953– 1954. Oil on canvas. 80" × 100". Albright Knox Art Gallery/Art Resource, NY/Scala, Florence. Art © Dedalus Foundation, Inc. /Licensed by VAGA, New York, NY. [Fig. 24 -7] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Web Resource: The Estate of David Smith. Cubi XVII. 1963. Polished stainless steel. 107 -3⁄4" × 64 -3⁄8" × 38 -1⁄8". The Dallas Museum of Art. The Eugene and Margaret Mc. Dermott Fund. © Estate of David Smith/Licensed by VAGA, New York, NY. [Fig. 24 -8] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Architecture at Mid-Century • International Style with simplified shapes § Steel-and-glass box § Represented American corporation § Lever House in NYC • Oscar Niemeyer, Planalto Palace § Departs from glass box with impracticalities § Curved struts of external skeleton Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Video: Gordon Bunshaft's Lever House: Smart. History Skidmore, Owings, and Merrill. Lever House. 1952. New York City. Photograph: Howard Architectural Models Inc. [Fig. 24 -9] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Oscar Niemeyer. Planalto Palace. 1960. Presidential Residence, Brasília, Brazil. Photograph: Lamberto Scipione/Dinodia. [Fig. 24 -10] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Assemblage • Assemblage § Loose conglomeration of seemingly random objects • Robert Rauschenberg § "Combine-paintings" include Abstract Expressionistic brushwork with ordinary objects and collage materials • Monogram • Angora goat standing on a painting Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Robert Rauschenberg. Monogram. 1955– 1959. Freestanding combine. 42" × 64 -1⁄2". Moderna Museet, Stockholm. © Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY. [Fig. 24 -11] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Assemblage • Robert Rauschenberg § Tracer • Screenprinting techniques • Modified art reproductions • Unrelated pieces of everyday experience • Edward Kienholz, John Doe § Average American turned caricature § Despair over bland middle class life § Store mannequin, baby stroller Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Robert Rauschenberg. Tracer. 1963. Oil and silkscreen on canvas. 84 -1⁄8" × 60". The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Gallery Foundation, F 84 -70. Photo: Jamison Miller © Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY. [Fig. 24 -12] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Edward Kienholz. John Doe. 1959. Free-standing assemblage: oil and paint on mannequin parts; perambulator, toy, wood, metal, plaster, plastic, and rubber. 39 -1⁄2" × 19" × 31 -1⁄4". The Menil Collection, Houston. Acc. #86 -27 DJ. Photographer: George Hixson, Houston. [Fig. 24 -13] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Assemblage • Jasper Johns § Interested in difference between signs (emblems that carry meaning) and art • Power of Abstract Expressionist forms combined with familiar representations § Target with Four Faces § Irony relating to Dada and Pop Art Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Jasper Johns. Target with Four Faces. 1955. Encaustic on newspaper and collage on canvas with objects, surmounted by four tinted plaster faces in wood box with hinged front. Box open: 33 -5⁄8" × 26" × 3". Museum of Modern Art (Mo. Ma). Gift of Mr. and Mrs. Robert C. Scull. Digital image: The Mo. MA, New York/Scala, Florence. © Jasper Johns/Licensed by VAGA, New York, NY. [Fig. 24 -14] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Assemblage • Niki de Saint Phalle § Made paintings then symbolically killed them by piercing or shooting them § Saint Sebastian • One of her husband's shirts and neckties • Direct meaning of target symbol Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Niki de Saint Phalle. Saint Sebastian, or the Portrait of My Love. 1960. Oil, fabric, darts, and nails on wood and dartboard. 28 -1⁄2" × 21 -3⁄4" × 2 -3⁄4". Collection of the artist. © 2013 Niki Charitable Art Foundation. All rights reserved/ARS, NY/ADAGP, Paris. [Fig. 24 -15] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Events and Happenings • Gutai (Embodiment) § A radical Japanese movement in which art could be an event rather than an object § Saburo Murakami, Passing Through • Symbolically destroyed blank sheets of paper mounted on frames in performance § Foreshadowed happenings and performance art in the West Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Saburo Murakami. Passing Through. 1956. Performance. © Makiko Murakami and the former members of the Gutai Art Association. Courtesy of the Ashiya City Museum of Art and History. [Fig. 24 -16] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Events and Happenings • Jean Tinguely § Machines that work in unexpected ways § Homage to New York. . . • Assemblage designed to destroy itself • Happenings § Cooperative events in which viewers become active participants § Partly planned, partly spontaneous Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Jean Tinguely. Homage to New York: A Self-Constructing, Self-Destructing Work of Art. 1960. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 24 -17] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Events and Happenings • Allan Kaprow § First used term "happening" § Household • No spectators • Participants given objects • Men built tower • Women built nest • Both destroyed each others' works Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Allan Kaprow. Household. Performed May 1964. Happening commissioned by Cornell University. The Getty research Institute, Los Angeles (980063). Photograph Solomon A. Goldberg. [Fig. 24 -18] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Pop Art • Incorporates real objects or massproduction techniques § Photographic screenprinting • Richard Hamilton § Published a list of Pop Art qualities § Just What Is It That Makes Today's Homes So Different, So Appealing? • Parody of superficiality, materialism of popular culture Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Closer Look: Just What Is It That Makes Today's Homes So Different, So Appealing? Podcast: Just What Is It That Makes Today's Homes So Different, So Appealing? Richard Hamilton. Just What Is It That Makes Today's Homes So Different, So Appealing? 1956. Collage. 10 -1⁄4" × 9 -3⁄4". Kunsthalle, Tubingen, Germany/The Bridgeman Art Library © R. Hamilton. All rights reserved, DACS 2013. [Fig. 24 -19] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Pop Art • James Rosenquist § A billboard painter who incorporated experiences in more mature style § Montages of American popular culture § F-111 • Filled all four walls of gallery in which it was exhibited • Symbols of affluence and destruction Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Closer Look: James Rosenquist, F-111 James Rosenquist. F-111. 1965. Oil on canvas with aluminum. Four parts. 10' × 86'. Private collection. © James Rosenquist/Licensed by VAGA, New York. [Fig. 24 -20] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Pop Art • Andy Warhol § Most visible exponent of Pop Art § Consumer products common subjects • Celebrities' status as consumer product § Marilyn Diptych • Repeated, packaged commodity § Race Riot • Borrowed headline-generated image • No civil position on the event Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Closer Look: Andy Warhol, Marilyn Diptych Discovering Art: Introduction to Andy Warhol. Marilyn Diptych. 1962. Synthetic polymer paint and silkscreen ink on canvas. 6' 10" × 57". © Tate, London 2013 Marilyn Monroe LLC Under License Authorized by CMG Worldwide Inc. , Indianapolis, IN © 2013 the Andy Warhol Foundation for the Visual Arts, Inc. /Artists Rights Society (ARS), New York. [Fig. 24 -21] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Andy Warhol. Race Riot. 1964. Screenprint on Strathmore drawing paper. 30 -1⁄8" × 40". The Eli and Edythe Broad Collection, Los Angeles. © 2013 The Andy Warhol Foundation for the Visual Arts, Inc. /Artists Rights Society (ARS), New York. [Fig. 24 -22] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Pop Art • Roy Lichtenstein, Drowning Girl § Comic-book image • Bright primary colors • Impersonal surfaces • Printing dots § Commentary on a world obsessed with consumer goods and spectacles Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Roy Lichtenstein. Drowning Girl. 1963. Oil and magna on canvas. 67 -5⁄8" × 66 -3⁄4". Museum of Modern Art (Mo. MA) Philip Johnson Fund and Gift of Mr. and Mrs. Bagley Wright. Acc. n. : 685. 1971. © 2013. Digital Image, the Mo. MA, New York/Scala, Florence. © The Estate of Roy Lichtenstein. [Fig. 24 -23] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Art Forms Us: Commentary • Consumerism § Mass products widely available by the 1960 s • Artists commented with ironic reverence § Arman, Accumulation of Teapots • New Realist work • One dozen factory-made examples sliced lengthwise and placed in a plastic box Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Arman. Accumulation of Teapots. 1964. Sliced teapots in plastic case. 16" × 18" × 16". Collection Walker Art Center, Minneapolis. Gift of the T. B. Walker Foundation, 1964. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 24 -24] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Art Forms Us: Commentary • Consumerism § Tom Wesselmann, Still Life #24 • Still life updated with modern consumer product • Fake corncob • Assemblage of "convenience" foods • Casual middle-class contemporary abundance Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Tom Wesselmann. Still Life #24. 1962. Acrylic polymer, collage and assemblage on board. 48" × 59 -7⁄8". The Nelson-Atkins Museum of Art, Kansas City, Missouri. Gift of the Guild of the Friends of Art, F 66 -54. Photograph: Jamison Miller. © Estate of Tom Wesselmann/Licensed by VAGA, New York. [Fig. 24 -25] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Art Forms Us: Commentary • Consumerism § Claes Oldenburg, Two Cheeseburgers, with Everything • Took advertisers' claims about thick ingredients seriously • Grossly overstates the claim in burlapsoaked plaster • Incorporated "fast food, " a growing option for Americans Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Claes Oldenburg. Two Cheeseburgers with Everything (Dual Hamburgers). 1962. Burlap soaked in plaster, painted with enamel. 7" × 14 -3⁄4" × 8 -5⁄8". The Museum of Modern Art (Mo. MA) Philip Johnson Fund. 233. 1962. Digital Image, The Mo. MA, New York/Scala, Florence. © Claes Oldenburg. [Fig. 24 -26] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Minimal Art • Art referring to nothing outside itself • Donald Judd § Sheet metal and other industrial materials § Untitled work of 1967 • No story, no personal expression, no content • Focus of color and form Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Donald Judd. Untitled. 1967. Stainless steel and plexiglass, ten units. 191 -5⁄8" × 40" × 31". Collection of the Modern Art Museum of Fort Worth, Museum Purchase, the Benjamin J. Tillar Memorial Trust. Art © Judd Foundation. Licensed by VAGA, New York, NY. [Fig. 24 -27] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Minimal Art • Painting § Suppressed brush strokes in favor of uniform application with precise edges § Ellsworth Kelly's Blue, Green, Yellow, Orange, Red • Self-explanatory study of pure hues § Frank Stella, Agbatana III • Distinctive outer profile created by internal shapes without figure–ground relationship Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Ellsworth Kelly. Blue, Green, Yellow, Orange, Red. 1966. Oil on canvas, 5 panels. Overall 60" × 240". Solomon R. Guggenheim Museum, New York 67. 1833. [Fig. 24 -28] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Frank Stella. Agbatana III. 1968. Fluorescent acrylic on canvas. 120" × 180". Allen Memorial Art Museum, Oberlin College, Ohio. Ruth C. Roush Fund for Contemporary Art and National Foundation for the Arts and Humanities Grant, 1968. 37. © 2013 Frank Stella/Artists Rights Society (ARS), New York. [Fig. 24 -29] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Concept Art • In which an idea takes the place of the art object • Creator merely carries out the idea • Joseph Kosuth, One and Three Chairs § Shows that we process each version of the three chairs differently • Yoko Ono § Pieces generally instructions to viewers Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Joseph Kosuth. One and Three Chairs. 1965. Wooden folding chair, photographic copy of a chair, and photographic enlargement of dictionary definition of a chair. Chair 32 -3⁄8" × 14 -7⁄8" × 20 -7⁄8". Photo panel 36" × 241⁄8". Text panel 24" × 24 -1⁄8". The Museum of Modern Art (Mo. MA) Larry Aldrich Foundation Fund. 393. 1970. a-c. Digital image the Mo. MA/Scala, Florence. © 2013 Joseph Kosuth/Artists Rights Society (ARS), New York. [Fig. 24 -30] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Site-Specific Works and Earthworks • Artist's response to the location determines the composition, scale, medium, and content of the piece • Christo and Jeanne-Claude § Temporary works of art often using fabric § Running Fence • Ribbon of white cloth captured wind • Involved people, process, object, place Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Web Resource: Christo and Jeanne-Claude: National Gallery of Art: Online Exhibit Christo and Jeanne-Claude. Running Fence. 1972– 1976. Nylon fabric and steel poles. 18' × 24 -1⁄2 miles. Sonoma and Marin Counties, California. © Volz/laif/Camera Press. [Fig. 24 -31] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Site-Specific Works and Earthworks • Walter de Maria's Lightning Field § Four hundred stainless-steel poles arranged in New Mexico § Lightning conductors during electrical storms and precise, shining objects in the sun • Earthworks § Sculptural forms made of earth, rocks, and sometimes plants Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Walter De Maria. The Lightning Field. 1977. 400 stainless-steel poles, average height 20'7"; land area 1 mile × 1 kilometer. Quemado, New Mexico. Photograph: John Cliett. © Dia Art Foundation, New York. [Fig. 24 -32] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Site-Specific Works and Earthworks • Robert Smithson § A founder of earthworks movement § Spiral Jetty • Great Salt Lake, Utah • In and out of view corresponding with changes in water level • Universal spiral design • Site-specific works almost never sold • Art as experience, not commodity Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Video: Spiral Jetty, 1970 Film by Robert Smithson. Spiral Jetty. 1970. Great Salt Lake, Utah. Earthwork. Length 1, 500', width 15'. Photograph: Gianfranco Gorgoni. © Estate of Robert Smithson/Licensed by VAGA, New York, NY. [Fig. 24 -33] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Installations and Environments • Fabricated interior installations and environments and usually not portable • Yayoi Kusama, Infinity Mirror Room. . . § Luxurious multiplicity of dots found on stuffed phallic shapes § Artist included in the vision of infinity Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Yayoi Kusama. Infinity Mirror Room: Phalli's Field. 1965. Installation. 98 -1⁄2" × 197". © the artist. [Fig. 24 -34] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Installations and Environments • Alice Aycock, The Beginnings of a Complex. . . § A group of irregular wooden structures § Viewers could participate by climbing and descending § One route through an underground tunnel § Meant to instill fear, claustrophobia Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Alice Aycock. The Beginnings of a Complex… 1977. Wood and concrete. Wall Facade: length 40' × heights 8', 12', 16', 20', 24' respectively. Square Tower: 24' × 8'. Tall Tower Group: height 32'. Executed for Documenta 6, Kassel, Germany. Photograph courtesy of the artist. [Fig. 24 -35] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Early Feminism • Early feminists felt that making art about their experience might doom them to obscurity in male-dominated world of art. • The Dinner Party, Judy Chicago § Collaborative effort of many women § Triangular table with place settings honoring women from history § Embroidered runners and ceramic plates Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Closer Look: Judy Chicago, The Dinner Party Judy Chicago. The Dinner Party. 1979. Mixed media. 48' × 42' × 3'. Triangular table on white tile floor. Collection of the Brooklyn Museum of Art, Gift of the Elizabeth A. Sackler Foundation. Photograph © Donald Woodman/Through the Flower. © 2013 Judy Chicago/Artists Rights Society (ARS), New York. [Fig. 24 -36] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Early Feminism • Women Artists in Revolution (WAR) § East coast feminists § Nancy Spero, Rebirth of Venus • Later scroll presenting women in uncommon roles • Venus split to reveal woman sprinter Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Orlan. Le Baiser de l'artiste (The Artist's Kiss). 1976– 1977. Mixed media with paint, metal chain, photographs, wood, blinking diode, artificial candles, artificial flowers, and CD. 86 -1⁄2" × 67" × 23 -1⁄2". In the collection of the Fonds Regional d'art Contemporain, Pays de la Loire, France. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 24 -38] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Early Feminism • In Europe § Orlan • Theme of women's body as the site of cultural debate and struggle • Le Baiser de l'artiste • Orlan the Saint versus Orlan the Body • Choice between bringing a candle to the virgin or a coin to dispense kisses from the artist • Virgin versus whore motif Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Performance Art • Actions performed before an audience or nature § Visual art and drama § Related to Conceptual art • Joseph Beuys, I Like America and America Likes Me § Lived for a week with coyote in a gallery § Meant to heal breach between the business-oriented culture and Wild West Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Joseph Beuys. I Like America and America Likes Me. 1974. Performance at René Block Gallery. Courtesy Ronald Feldman Fine Arts, New York/www. feldmangallery. com. Photograph: Caroline Tisdall. © 2013 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. [Fig. 24 -40] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Performance Art • Ana Mendieta, Tree of Life § Covered body with mud and stood against ancient tree trunks § Equivalence between femaleness and natural processes, rhythm of earth • Decoy Gang War Victim § Cautionary flares around "victim" in the street in strife-torn LA § News channels did not realize hoax Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Ana Mendieta. Tree of Life. 1976. Lifetime color photograph. 20" × 13 -1⁄4". Collection of Raquelin Mendieta, Family Trust [GL 2225 -B] © The Estate of Ana Mendieta Collection. Courtesy Galerie Lelong, New York. [Fig. 24 -40] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved

Asco (Willie Herrón III, Humberto Sandoval, Gronk, Patssi Valdez, Harry Gamboa Jr. ). Decoy Gang War Victim. 1975. Photograph: © Harry Gamboa Jr. [Fig. 24 -41] Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved