Joan Jonas and Feminist Art Movements

Art 1100
Joan Jonas
“They Come to Us without a Word”
U.S. Pavilion,Venice Biennale, 2015

Modernism
Escape the inﬂuence of history.
Belief in cultural progress (linear history).
Belief in science as a virtue (objectivity).
Belief in universal truths that can be discovered.
Fascination with the “Primitive” or elemental.
Motto:“Make it New”

Postmodernism
Believes that we are embedded in history.
Anti-essentialist, we determine our character.
Skeptical of the idea of progress.
Believes that objectivity isn’t possible.Your viewpoint
shapes your thought processes.
Consequences
Draws inﬂuences from all time periods
No-essential form to any media
Embraces Non-western Culture
Emphasizes individual experience

“Movements”
70’s
Earthworks
Conceptual Art
Feminism
80’s
Appropriation
Video Art
Neo-Expressionism
90’s
Identity Politics
Globalism
Post-Colonialism
00‘s
Installation
Relational Aesthetics
The Postmodern World
Pluralism: multiple acceptable artistic movements/media
existing at the same time. Multiple ideas of what makes
“good” art exist simultaneously.

In 1971, art historian Linda Nochlin asked a now
famous question,
“Why have there been no great women artists?”
The answer was not immediately clear, but was
instead a mix of factors from lack of available training,
restricted gender roles and even the way “the artist”
was conceptualized in culture that provided barriers
to women.
Feminism and Feminist Art

Feminist Art
1).Asserted that the “domestic crafts” and things
that were traditionally “women’s work” were ﬁne art.
2).Made political artwork criticizing social structures
that excluded women.
3). Searched for a feminine view of history and art.
i.e. Rewrite the list of famous artists.
i.e. Look for examples of matriarchal societies.
4). Proudly represented the female body in its
complexity.

Craft vs. the “Fine Arts”
Craft
Functional
“Commercial”
Dependent
Skill-based
Female?
Fine Arts
Only Visual
Non-commercial
Autonomous
Idea-based
Male?
“While there are many objects that are excluded from the
category of ﬁne art whose makers are male, those objects of
domestic use whose creation was predominantly the
occupation of women were all marginalized by this category
and its attendant values (Parker and Pollock 1981)”

Miriam Shapiro,
Heartfelt, 1979.
Feminism was a social and
political movement in the 70’s
that paved the way for more
diversity in art and recognition
of women artists.This image
combines painting and ”female
craft” to state that
postmodern art offers
diversity in media and style,
but also in gender.

"Gates of Paradise,"
by Miriam Schapiro,
1980

Sheila Hicks
Bamian (Banyan)
(1968-2002) wool
and acrylic
Incorporates
“craft”
materials.

Eva Hesse. Right After, 1969.

Womanhouse, (1972) was
the ﬁrst project of the
newly-established Feminist
Art Program at CalArts.
Judy Chicago and Miriam
Schapiro, working with their
students took over an old
mansion in Hollywood for
installations and
performances exploring
women’s domestic space.
***For video see Feminism subfolder.***

Once the house was prepared, the women turning the rooms and
spaces of the house into artworks that addressed personal issues
gleaned from their own experiences as women, including
housework, mothering, the gendered division of labor, aging, and
menstruation.
A major inﬂuence for the artists was Betty Friedan’s The Feminine
Mystique (1963), which challenged societal expectations that
relegated women to the domestic arena.
Womanhouse was the ﬁrst feminist work of art to receive
national attention when it was written about in Time magazine.
The project was groundbreaking in American art in ways that can
be seen to dovetail with emerging Post-modernism. Except for a
few pieces, the work was destroyed after completion.

At completion, Womanhouse had 18 installations, including three
bathrooms, two closets, a nursery, the kitchen, the stairway, and the
garden. Some of the best known of these are Menstruation
Bathroom and Nurturant Kitchen.The latter focused on the
drudgery of housework as well as societal expectations regarding the
role of women as nurturers within the family dynamic.
While installations such as Leah’s Room included performances, the
living room was reserved for the presentation of a series of
performances including The Cock and Cunt Play and Waiting.The
former was a ribald but honest look at how housework was
traditionally assigned to men and women based on essentialist
notions about the body.

Womanhouse: Lea's Room: woman
applying and reapplying makeup
Lea's Room, 1972
Clothing and costume also
played a crucial role in Leah's
Room, created by Karen LeCocq
and NancyYoudelman. Inspired
by the novel Chéri, Colette's
story about an aging courtesan,
this heavily perfumed bedroom
was ﬁlled with antiques .A
woman (LeCocq) slowly and
silently applied cosmetics and
then removed them, causing
many women to weep openly as
they observed the performance.

Womanhouse: Painted Room

Womanhouse: Lipstick Bathroom

Womanhouse: Fright Bathroom

Womanhouse: Linen Closet
Womanhouse:Web Room
(Crocheted Environment)

Essentialism:
The practice of regarding something (as a presumed
human trait) as having innate existence or universal truth
rather than being a social or ideological construct.
This early feminist art was essentialist; it focused on
women’s bodies and deﬁned gender in biological terms.
i.e. A feminine “essence”, the way to be female.
The second wave of feminist art deﬁned gender in more
relativist terms.

Judy Chicago,The Dinner Party, 1974-1979.

Judy Chicago,The
Dinner Party,
1974-1979.
Judy Chicago’s The Dinner Party is a large, complex, mixed-media
installation dedicated to hundreds of women and women artists
rescued from anonymity by early feminist artists and historians. It took
ﬁve years of collaborative effort to make, and it drew on the assistance
of hundreds of female and several male volunteers working as
ceramists, needleworkers, and china painters.The Dinner Party is
composed of a large, triangular table, each side stretching 48 feet;
Chicago conceived of the equilateral triangle as a symbol of both the
feminine and the equalized world sought by feminism.Along each side
of the table are 13 place settings representing famous women— 13
being the number of men at the Last Supper as well as the number of
witches in a coven.

Feminist Art
1). Presented the “domestic crafts” and things that
were traditionally “women’s work” as ﬁne art.
2).Made political artwork criticizing social
structures that excluded women.
3). Searched for a feminine view of history and art.
i.e. Rewrite the list of famous artists.
4). Proudly represented the female body in its
complexity.

Judy Chicago,The Dinner Party, 1974-1979.

Judy Chicago, Rejection Quintet: Female Rejection Drawing, 1974.

Judy Chicago, Queen Elizabeth, 1972

Carolee Schneemann,
Interior Scroll (1975
Performance
Feminist art also sought
to reclaim the female
body as a creative force,
not as something to be
covered up. Whose use
could be deﬁned by
women themselves.

For Schneemann’s performance Interior Scroll (1974), the
artist ritually prepared herself for the action, ﬁrst by
undressing, wrapping herself in a sheet and reading from her
book, Cézanne, SheWas a Great Painter, while taking action
poses similar to those of a life drawing model. She then
outlined her face and body in strokes of paint, before slowly
extracting a long, thin scroll of paper from her vagina.
As she unfurled the scroll she read its contents to the
audience; it was a narrative, taken from a conversation with a
ﬁlmmaker (a woman), who associated the artist’s works with
irrational, unstructured content and process—the feminine.
The action of pulling the scroll from her vagina represented a
reclamation of personal control over creative production.
Performance

Performance
Carolee Schneemann,
Interior Scroll (1975

Mierle Laderman Ukeles. tfordWash:Washing/Tracks/Maintenance, 1973.
Performance
Part of reclaiming the feminine
body, was afﬁrming the
traditionally feminine kinds of
work.
Mierle Laderman Ukeles wrote
the Manifesto for Maintenance
Art, 1969! to promote
‘maintenance' ("sustain the
change; protect progress") as an
important value in contrast to
the excitement of avant-garde
and industrial ‘development'.

Martha Rosler
Semiotics of the Kitchen, 1975
***For video see Feminism subfolder.***
Performance

Martha Rosler, Untitled (Cargo Cult);
from the series Body Beautiful, or
Beauty Knows No Pain 1965-1974
Martha Rosler also used
collage to combine
women magazines with
news images. The scenes
of afﬂuent American life
collide with scenes of
global industry and the
Vietnam war.

Rosler, Martha
Collage (Photomontage)
1970-71

Martha Rosler, Red Stripe Kitchen
Photographic collage.1967 - 1972

Feminism marks a sharp break from Modernism. It showed
that abstract art was largely an aloof creation of the male
dominated art world ill equipped to practically help women.
Abstract art couldn’t help more women get shows, or work
to free women from restrictive gender expectations.
What was needed was a more socially engaged art form. For
women to be acknowledged they needed to try and ﬁnd
their own contribution. Feminism was Postmodern in that it
looked into the past to ﬁnd examples of women in art.
In this way Feminism was an important example for future
art movements.

https://vimeo.com/94449276
A brief reminder about Modernism

Postmodern Architecture
PROBLEM:
Thought Modernist architects had ignored human
needs in their quest for uniformity and function.
SOLUTION:
•New architecture should address the complex mix
of “high” and “low” architecture.
•Should embrace past architectural styles
•Began to re-apply decoration to buildings.
“Less is more,” but “Less is a bore.”

Robert VenturiVANNAVENTURI HOUSE
Chestnut Hill, Pennsylvania. 1961 –1964.

Shaped facade.
Not symmetrical.
Irregular ﬂoor plan.
Combines various historical styles
together into one building
Uses decoration without function.

VannaVenturi House ...
RobertVenturi
Model date: c. 1959-62
While writing his treatise on Postmodernism, Complexity and
Contradiction in Architecture (1966),Venturi designed a house for his
mother that illustrated many of his new ideas.The shape of the façade
returns to the traditional Western “house” volumes and shapes that
Modernists rejected because of their historical associations. Its
vocabulary of triangles, squares, and circles is arranged in a complex
asymmetry that gives up the symmetrical rigidity of Modernist design.
While the curved molding over the door is simply decorative. The
most disruptive element of the façade is the deep recess over the
door, which opens to reveal a mysterious upper wall (which turns out
to be a penthouse) and chimney top.

Robert VenturiVANNA
VENTURI HOUSE
Chestnut Hill, Pennsylvania.
1961 –1964.
The interior is also complex
and contradictory.The
irregular ﬂoor plan, including
an odd stairway leading up to
the second ﬂoor, is further
complicated by irregular
ceiling levels that are partially
covered by a barrel vault.

Designed by RobertVenturi
"Sheraton" Chair Designed 1978-84; made 1985
Designed by RobertVenturi,
"Gothic Revival" Chair1979-1984;
Postmodern Design

Postmodern Design
Carlton room
divider
1981
Ettore SOTTSASS
(designer)
MEMPHIS, Milan

Michael Graves, Portland Building, 1982
Postmodernism brings
a return to historical
styles and decoration.
Combines
Old and New!

Michael Graves The Plocek House (1977),Warren, NJ

Philip Johnson's
Sony Tower
(formerly AT&T
Building), 1984
NYC
Philip Johnson designed the
AT&T Building (now the Sony
Building; 1979–84).Various
period references, mostly
Renaissance and Baroque,
were overshadowed by the
celebrated Chippendale (like
the chair back) pediment that
provides the building with a
unique proﬁle on the
Manhattan skyline.

Bank of America Center in
Houston by John Burgee and
Philip Johnson.

Charles Moore, Piazza d’Italis, New Orleans, 1978

James Stirling, Neue Staatsgalerie, Stuttgart, Germany, 1984

The Neue Staatsgalerie museum is a series of integrations, both with
the site and with periods of art and design. Stirling combines
materials of the past, travertine and sandstone, with colored
industrial steel throughout the museum as a way to pay respect to
the art and design of the 19th Century by developing a relationship
with modern materials resulting in a uniquely Post Modern museum.

Harold Washington Library, Hammond, Beeby and Babka Architects,1991
Postmodern Architecture in Chicago

Postmodern Architecture in Chicago
In 1987, Beeby and his ﬁrm (then Hammond, Beeby & Babka)
designed and built the new Chicago Public Library, the Harold
Washington Library Center (1987–91).
The building is contextual architecture, in this case the Neo-classical
traditions of 19th-century Chicago. With its grand arched windows,
overhanging cornice, and ornate Neo-classical details such as swags
and towering ﬁnials, the Library Center formed a controversial
contribution to Chicago’s architectural landscape.
The top portion and most of the west side, facing Plymouth Court,
is glass, steel and aluminum.The roof is a pediment that harkens to
the Mannerist style. In 1993, seven ornamentations on the roof were
added.The decorations on the Congress andVan Buren sides are
seed pods, which represent the natural bounty of the Midwest.
Others show owls, representing the Greek symbol of knowledge,
perched in foliage.

Most recent shopping
malls are in the
Postmodern style , with
things like nonfunctional
“clocktowers” or
decorative gabled
windows.

Santiago Calatrava - Milwaukee Art Museum, 2001

The Milwaukee Art Museum, which overlooks Lake Michigan, was
partially housed in a building designed in 1957 by Eero Saarinen as a
war memorial. Santiago Calatrava proposed a pavilion-like construction
conceived as an independent entity.The white steel-and-concrete form
is reminiscent of a ship and contrasts the existing ensemble in both
geometry and materials. Being linked directly to Wisconsin Avenue via a
cable-stay footbridge, pedestrians may cross busy Lincoln Memorial
Drive on the bridge and continue into the pavilion.
The pavilion features a spectacular kinetic structure, a brise-soleil with
louvers that open and close like the wings of a great bird.When open
the shape also becomes a sign, set against the backdrop of the lake, to
herald the inauguration of new exhibitions.The pivot line for the slats is
based on the axis of a linear mast, inclined at 47 degrees, as a parallel to
the adjacent bridge mast.

https://www.youtube.com/watch?v=eGQJPkQL0fU

Sherrie Levine,
Fountain (Madonna),
1991.
Appropriation: or use of “readymade” images or art
objects allows for the examination of the meaning of
those objects or forms. Used largely by the “Pictures
Generation” artists.

Marcel Duchamp,
Fountain, 1963 replica
of 1917 original.
“Readymade”: an
everyday object
used as art.
Marcel Duchamp
Dada: anti-modernism

Appropriation art challenges traditional ideas about authenticity,
individuality, copyright laws, and the location of meaning within a
work of art. Levine’s urinal is taken directly from Duchamp’s ready-
mades, though he did not cast his urinal in bronze, but used an
existing, ordinary porcelain urinal. Levine’s fountain is a precious
presentation of the work from the previous master.
Appropriation has been likened to the similar trend in music—
samples or remixes.
Levine found a source in the examples of 20th-century art,
appropriating verbatim from such modernist luminaries as Walker
Evans,Willem de Kooning, Piet Mondrian, and Edward Weston.
Feminist critics have interpreted the performative nature of Levine’s
work, in which she assumes the identity of an artistic predecessor, as
a subversive intervention in the rigid (and overwhelmingly male)
construction of art history.
Appropriation

Black Newborn, Sherrie Levine, 1994
Appropriation

Sherrie Levine
White Knot: 1
1986, Casein on
wood
: 31 1/8 x 25 3/16 x
1 1/4 inches (79.1 x
64 x 3.2 cm)
Appropriation

Man Ray, La Fortune, 1938
Levine takes Man Ray’s billiard table out of it’s
surrealist landscape and makes it a “real” object.

Sherrie Levine,“La Fortune” (After Man Ray: 4), 1990
Appropriation

Jean Baudrillard (1929-2007)
Postmodern French theorist
and author
Simulacrum:
A copy that modiﬁes the
experience of the original.
Parts of Disneyland are
based on America, but
compared to Disneyland,
Los Angeles looks more real.
Postmodernism

“I think of the postmodern attitude as that of a man who
loves a very cultivated woman and knows that he cannot say
to her "I love you madly", because he knows that she knows
(and that she knows he knows) that these words have already
been written by Barbara Cartland [a novelist].
Still there is a solution. He can say "As Barbara Cartland would
put it, I love you madly". At this point, having avoided false
innocence, having said clearly it is no longer possible to talk
innocently, he will nevertheless say what he wanted to say to
the woman: that he loves her in an age of lost innocence.”
-author Umberto Eco
Appropriation

Untitled (Cowboy) (1989) Richard Prince
Appropriation

Richard Prince
Untitled (cowboy), 1980-84
Appropriation

Richard Prince, Cowboy, color photograph, 1991-92
Appropriation

Art critic of the time Douglas Crimp wrote in 1977 of
the appropriation artists of the “Pictures Generation”
that,
“They are not in search of sources of origins, but of
structures of signiﬁcation: underneath each picture there is
always another picture.”
Artworks in this case were “signs” pointing to other
meanings, mostly stereotypes.Whether of gender, race
or class.
Appropriation

. Photographic silkscreen, vinyl lettering on plexiglass, 109" x 210". © Barbara Kruger.
Barbara Kruger, Untitled (We don't need another hero), 1987
Feminist Art in the 80’s

Third-wave feminist art emerged in the 1990s.This latest
generation of artists has addressed a plethora of other issues
that discriminate against or denigrate women, including such
hybrid ones as gender and class, gender and race, violence
against women, postcolonialism, transgenderism,
transnationalism, and eco-feminism.
Third-wave feminist art explores the many strategies that
women employ to navigate life.
In photograph-based images Barbara Kruger examines the
representation of power via mass-media images, appropriating
their iconography and slogans and deconstructing them visually
and verbally.

Untitled (You Invest in the Divinity of the
Masterpiece) Barbara Kruger , 1982.
• Makes political artwork
criticizing social
structures that exclude
women.
• Works for change “on
the ground” by using
graphic design, products,
media and public spaces.
• Attacks feminine
stereotypes.

Untitled (Your Body is a
Battleground)
Barbara Kruger
1989
Photographic silkscreen
on vinyl
112 x 112 in.

Barbara Kruger, Untitled (We Will No Longer Be Seen and Not Heard), 1985

Guerrilla Girls, "Do women have to be naked to get into the Met.
Museum? Less than 5% of the artists in the Modern Art sections are
women, but 85% of the nudes are female", 1989
The Guerrilla Girls came into being in 1985, shortly after the
opening of a huge exhibition at NewYork’s Museum of Modern
Art.The show, titled “International Survey of Contemporary
Painting and Sculpture,” included works by 169 artists, fewer
than 10 percent of whom were women.

The Guerrilla Girls lecturing.

Jenny Holzer
Abuse of Power Comes as No Surprise
Photograph
Jenny Holzer, Survival,Times Square, NewYork (197-?)

Jenny Holzer, Survival,Times Square, NewYork (1986)

Jenny Holzer
Living: More than once I've wakened with tears...
1980-82, Bronze, 7 5/8 x 10 1/8" (19.4 x 25.7 cm)

Jenny Holzer
Living: Some days you wake and immediately...
1980-82

Installation view of Jenny Holzer: PROTECT PROTECT (Whitney Museum of American Art,
NewYork, March 12–May 31, 2009). Photograph by Bill Orcutt

Untitled Film Still #7,
Cindy Sherman (American,
born 1954), 1978
The “Untitled Film Stills”
series by Cindy Sherman (b.
1954) exempliﬁes Postmodern
strategies of looking.These
photographs eerily resemble
authentic still photographs
from early 1960s ﬁlms; but all
are in fact contemporary
photographs of Sherman
herself.

Untitled Film Still
#13 Cindy Sherman
(American, born
1954)1978.

Cindy Sherman Untitled Film Still #21 1978, Gelatin silver print

In UNTITLED FILM STILL #21 for instance, Cindy Sherman appears as
a small-town girl who has moved to the big city to ﬁnd work. Other
photographs from the series show her variously as a Southern belle, a
hardworking housewife, and a teenager waiting by the phone for a call.
Critics have discussed these images in terms of second-wave feminism,
as questioning the culturally constructed roles played by women in
society, and as a critique of the male gaze. In these photographs,
Sherman is both the photographer and the photographed. By assuming
both roles, she complicates the relationship between the person
looking and the person being looked at, and she subverts the way in
which photographs of women communicate stereotypes.
Cindy Sherman Untitled
Film Still #21 1978,
Gelatin silver print

Untitled Film Still #58, Cindy Sherman (American, born 1954), 1980

Cindy Sherman, Untitled #123. 1983.
Untitled #153, Cindy Sherman (American,
born 1954), 1985.

Pierre Huyghe
"No Ghost Just a Shell" (collaboration with Philippe Parreno), 1999-2003
"Annlee," original image, 1999
© Pierre Huyghe, courtesy Marian Goodman Gallery, Paris/NewYork.
"’For ‘No Ghost Just a Shell’,
Philippe Parreno and I bought the
copyright of a manga character.
We can call it a sign. Normally
this kind of sign is bought to
make little advertising cartoons.
It’s a platform for a narrative,
advertising things."
- Pierre Huyghe
Appropriation

https://www.youtube.com/watch?v=J3E8ioPg8xQ
http://ubu.com/ﬁlm/parreno_anywhere.html
Appropriation

Pierre Huyghe
"No Ghost Just a Shell" (collaboration with Philippe Parreno), 1999-2003
"One Million Kingdoms," video still, 2001. DigiBeta video, 6 minutes, color, sound. Co-production of
Anna Sanders Films and Antéﬁlms. Photo by Laurent Lecat.
© Pierre Huyghe, courtesy Marian Goodman Gallery, Paris/NewYork.
Appropriation

Early experiments in video centered on figuring out the
characteristics of the medium, both of video itself and
also of television.
Genre’s of video art
1. Video about the medium of video.
2. Video about performance.
3. Video as physical material.
4. Video as a comment on television / film.
Video Art
By 1960 90% of American homes
had a television. It had become
the dominant and definitive
medium of mass culture.

Carlota Fay Schoolman
Richard Serra
1973, "Television Delivers People"
Video Art
***For video see Video Art subfolder.***
Produced in 1973, "Television Delivers People" is a seminal work in
the now well-established critique of popular media as an instrument
of social control that asserts itself subtly on the populace through
"entertainments," for the beneﬁt of those in power-the corporations
that maintain and proﬁt from the status quo.Television emerges as
little more than a insidious sponsor for the corporate engines of the
world.

Boomerang
(1974), Richard
Serra and
Nancy Holt
Video Art
Boomerang (1974), Serra taped Nancy Holt as she talks and
hears her words played back to her after they have been delayed
electronically. Originally broadcast over Amarillo,TX public
television.

Left Side Right Side
Joan Jonas
1972
videotape :single-channel
video, black-and-white,
with sound, 2:50 min.
Video Art
Creating a series of inversions, Joan Jonas
splits her image, splits the video screen, and
splits her identiﬁcation within the video
space, playing with the spatial ambiguity of
non-reversed images (video) and reversed
images (mirrors).

Joan Jonas:Vertical Roll, video still, 19:38 minutes, 1972 (Whitney Museum of American Art,
NewYork); image courtesy of Electronic Arts Intermix (EIA), NewYork
Video Art

Marshall McLuhan (1911-1981):
Canadian Communications Theorist
''the medium is the message”
''Most people are alive in an earlier time, but you must be
alive in our own time,'' Mr. McLuhan strove to understand
and explain the electronic media, which he believed were
shaping people in ways they hardly suspected.
Two major books:
''The Gutenberg Galaxy''
''Understanding Media:The Extensions of Man''
Video Art

For McLuhan the way we
acquire information
affects us more than the
information itself.
Media: Are seen as
extensions of human
needs / senses.
Examples:
The foot > the wheel.
The eye > the book.
The skin > clothing.
The nervous system >
the “electronic media”.

The Global Village...
A non-spatial communal existence.
Video Art

Vito Acconci /
Following Piece,
1969
Performance artists were
among the ﬁrst to use
video.They immediately
saw that it could record
and preserve their
artworks as they unfolded
…. in time.
Performance Art:
Descriptive term applied to ‘live’ presentations by artists.
From the early 1960s in the USA to refer to the live events
taking place at that time, such as Happenings, or body art.

Vito Acconci
http://www.ubu.com/ﬁlm/acconci_pryings.html
Pryings
21 minutes, 1971
Performance Art

Vito Acconci
Theme Song
33 minutes, 1973
Performance Art

Guy Ben-Ner
Berkeley’s Island
1999
http://ubu.com/ﬁlm/ben-ner_berkeley.html
Performance Art

https://www.youtube.com/watch?v=-md_AeTjVk0
GUY BEN NER Stealing Beauty 2007 single channel video running time: 17:40 minutes
Performance Art

Walk this Way (Clip)--2008
Kate Gilmore
Performance Art

Performance Art
Kate Gilmore, Sudden as a Massacre (Clip)--2011

Zen for TV
Nam June Paik (American, born Korea. 1932–2006)
1963 (executed 1975/1981).Altered television set, overall (original television):
Video Art
Still other artists chose
to work with the medium
of video through it’s
physical presentation as
electronics and electronic
signals.
Nam Jun Paik in
particular was interested
in the distortion of the
televised image.

Moon is the Oldest TV
Nam June Paik
1965
Video Art

Nam June Paik, MagnetTV,
1965. 17-inch black-and-white
television set with magnet, 28
3/8 × 19 1/4 × 24 1/2 in. (72.1
× 48.9 × 62.2 cm) overall.
Video Art

Nam June Paik , TV Buddha (1974)
Closed Circuit video installation with
bronze sculpture
Video Art

Installation view of Projects: Nam Jun Paik
MOMA, 1977
Video Art

Electronic Fables
Nam June Paik (American, born Korea. 1932–2006) and JudYalkut
(American, born 1938)
1965-1971/1992.Video (color, sound)
Video Art

Video Art
Peter Campus
Three transitions 1973
Exhibited at Paula Cooper Gallery, Summer 1997
color, sound, 4:53 minutes

Cory Arcangel
http://www.youtube.com/watch?v=nuXz-uVnIkw
Glitch art:
The aestheticization of
digital or analog errors,
such as artifacts and
other "bugs", by either
corrupting digital code/
data or by physically
manipulating electronic
devices (for example by
circuit bending).
Video Art

Video Art
Cory Arcangel
Clouds, 2002

http://www.ubu.com/ﬁlm/arcangel_f2.html
Video Art
Cory Arcangel
Duration: 2:46
f2 (2005)

Takeshi Murata, Silver
http://www.ubu.com/ﬁlm/murata_silver.html
Video Art

Video as a comment on
television / ﬁlm.

Technology/Transformation:WonderWoman - by Dara Birnbaum (1978)
Other artists used video to reﬂect on the messaging and
stereotypes being put out in the kinds of television and movies
that were in the mass media. Similar to Appropriation artists
they wanted to get to the meaning of the stories and look
“behind the scenes”.

Video Art
24 Hour Psycho by Douglas Gordan 1993, 35mm ﬁlm projection/installation.
https://www.youtube.com/watch?v=UtLg5TqqVeA

Paul Pfeiffer, Fragment of a Cruciﬁxion (After Francis Bacon), 1999
Video Art

https://www.youtube.com/watch?v=JHE77hD6GBM

Identity Politics:
Following the example of Feminism and the pluralism
of Postmodernism, artists began to reﬂect on the
ways in which they “performed” identity.
1). Culturally speciﬁc ways of making art were
explored and celebrated.
2). Old pictures of oppression were criticized.
Prominent Groups: African and Latino Americans,
LGBTQ movement.
The “representation of politics” and
the “politics of representation”.

Kerry James Marshall, (American, born 1955) Many Mansions, 1994
Identity Art

MANY MANSIONS by African- American painter Kerry James Marshall
(b. 1955) refers to Stateway Gardens, Chicago, one of the largest
housing projects in America. The inadequate conditions were the
subject of much debate prior to its demolition in 2007. Marshall shows
an idyllic setting of three African-American men, who are too well
dressed for gardening, to create an tidy garden that includes manicured
topiary in the background and flowerbeds in the foreground.The
painting includes a number of details, including the statement “In my
mother’s house there are many mansions,” which both changes the gender
of the biblical quotation (John 14:2).
Two cute cartoon bluebirds with a baby-blue ribbon fly into the scene
like the birds that bring the fairy godmother’s gifts to Cinderella in rags
in the Disney film, while two Easter baskets neatly wrapped in plastic sit
in the garden.The artist takes a swipe at the fact that the condition of
the projects was studied and then ignored by the authorities by labeling
his own picture “IL2-22” (“Illustration 2-22”) in the upper right
Identity Art

KERRY JAMES
MARSHALL, Scout
Master, 1996, acrylic
on paper on wood, 41
x 40 inches image size,
43 3/8 x 42 1/4 x 2
3/8 inches framed,

Kerry James Marshall, "Better Homes Better Gardens", 1994
Identity Art

Kerry James Marshall makes formally rigorous paintings, whose
central protagonists are always, in his words,“unequivocally,
emphatically black.”
As he describes, his work is rooted in his life experience:“You
can’t be born in Birmingham,Alabama, in 1955 and grow up in
South Central [Los Angeles] near the Black Panthers headquarters,
and not feel like you’ve got some kind of social responsibility.You can’t
move toWatts in 1963 and not speak about it.”
Marshall’s erudite knowledge of art history and black folk art
structures his compositions; he mines black culture and
stereotypes for his unﬂinching subject matter.
Identity Art

Kerry James Marshall, Souvenir IV, 1998
Identity Art

Kerry James Marshall, Souvenir I, 1998
Identity Art

Kerry James Marshall,
Untitled (Painter),
2010
Identity Art

KERRY JAMES
MARSHALL,
Untitled, 2009,
acrylic on pvc, 61
1/8 x 72 7/8 x 3
7/8 inches,

KERRY JAMES MARSHALL,
Untitled (Lovers), 2015,
acrylic on PVC panel, 60 x 48
x 3 inches (152.4 x 121.9 x
7.6 cm),

Carrie Mae Weems, Untitled (Woman playing solitaire) (from KitchenTable Series), 1990.
Gelatin silver print, 27 1/4 x 27 1/4 in.

Carrie Mae Weems has documented the African American
experience weaving together jokes, music and storytelling with
photographic imagery. Much of her work involves adapting her
own photographs and historical images of African Americans by
adding text evoking themes of family relationships, gender roles
and the histories of racism, sexism, and class.
Carrie Mae Weems’s acclaimed Kitchen Table Series (1990)
speaks. In a 2011 interview with Art21,Weems described the
series as a response to her own “sense of what needed to
happen, what needed to be, and what would not be simply a voice
for African American women, but would be a voice more generally
for women.”
Identity Art

Carrie Mae Weems, Untitled (Woman and daughter with makeup) (from KitchenTable Series),
1990. Gelatin silver print, 27 1/4 x 27 1/4 inches (69.2 x 69.2 cm).

Carrie Mae Weems, Untitled (Man and Mirror), 1990
Gelatin silver print, from the "Kitchen Table Series”, 36.5 x 36.5 cm

Carrie Mae Weems,,Josephine Baker
from Slow Fade to Black II, 2010–11
Identity Art

Identity Art
Carrie Mae Weems,,Josephine Baker

Carrie Mae Weems,
Katherine Dunham
Identity Art

David Hammons
African-American Flag
1990
Identity Art
David Hammon, American
installation artist, performance
artist and sculptor. African–
American Flag is typical work in
dealing with a contemporary
racial issue. These served as a
prelude to the found-object
sculptures he began to make in
the late 1970s from cheap and
discarded items such as
elephant dung, hair, chicken
bones, bottles and bags.

David Hammons, Bliz-aard Ball Sale, 1983

David Hammons, Untitled (NightTrain), 1989
Identity Art

Hammons, David
In the Hood, 1993
Identity Art

Hammons, David
Higher Goals, outdoor
sculpture; found objects. 1988
Identity Art
Higher Goals (1986), erected
in Cadman Plaza, Brooklyn,
NY, was one of his many
public commissions; the
project involved turning
enormous telegraph poles
into basketball hoops and
decorating them with
abstract patterns made from
bottle caps.

Hammons, David
Higher Goals, outdoor
sculpture; found objects. 1988

AIDS Coalition to Unleash Power (ACT UP) is an international
direct action advocacy group working to impact the lives of
people with AIDS (PWAs) and the AIDS pandemic to bring
about legislation, medical research and treatment and policies to
ultimately bring an end to the disease by mitigating loss of
health and lives.
Identity Art

Through the late 80’s and 90’s ACT-UP held demonstrations
around the USA, from Wall Street, the FDA, the NYSE, and major
television outlets.

Members of ACT UP Chicago with the sign Kissing does not kill , Gay
Pride in Chicago , June 24, 1990 , © The NewYork Public Library

Untitled" (Monument), 1989
Print on paper, endless copies
20 in. at ideal height x 29 x 23 in. (original paper size)
Identity Art

Felix Gonzales-Torres was an American sculptor and photographer of
Cuban birth. In 1987 he joined Group Material, a NewYork-based group
of artists adhering to principles of cultural activism and community
education. His own engagement as a gay man with socio-political issues
centered around the interaction of public and private spheres.
His stacked-paper work consists of two stacks of sheets printed with the
bracketed words of the titles, neatly piled to resemble Minimalist ﬂoor
sculptures. By inviting gallery visitors to take the sheets, Gonzalez-Torres
undermines Minimalist principles of social and aesthetic autonomy,
suggesting that the artwork is completed by the viewers’ physical
interaction with (and consumption of) the work.
This strategy also criticizes the ways in which ideas are propagated
through an art practice; by offering a work that depends on the projection
and contemplation by its audience.
Identity Art

Felix Gonzalez-Torres, ”Untitled"
1991, Billboard
Identity Art

“Untitled”, 1989
Billboard
Overall dimensions vary
with installation
Location: Sheridan Square,
NewYork. Mar. – Sept. 1989.
Sponsored by the Public Art
Fund.

Felix Gonzalez-Torres
"Untitled" (Perfect Lovers), 1991
Clocks, paint on wall
Identity Art

Although made shortly after the death of his partner, Ross Laycock,
“Untitled” (Perfect Lovers) was characteristically open to
interpretation. His ability to create sensual metaphor for private life in
public, in which two synchronized clocks, of the type to be found in
ofﬁces and public spaces, are displayed side by side; the implicit
romanticism is tempered by the inevitable fact of one stopping before
the other.
In 1993 a died from AIDS-related causes.
"Untitled" (Perfect Lovers), 1991
Clocks, paint on wall
Identity Art

"Untitled" (USA Today), 1990, Candies, individually wrapped in red, silver, and
blue cellophane (endless supply), Ideal weight: 300 lbs (136 kg)
Identity Art

Identity Art
"Untitled" (Toronto), 1992
Light bulbs, extension cord, and porcelain light sockets

Takashi Murakami, Ian Tan Bo Puking, 2002
Global art
Postmodernism, pluralism and globalization have allowed artists
to bind nations and cultures of the world together, giving rise to
an international network in which art from many points of origin
circulates and becomes known.
Contemporary artists are incorporating their traditional folk arts,
without fully assimilating into Western Art (history). Creates a
“hybrid” approach.

Begun in the 1600‘s in Japan, Ukiyo-e was initially considered
"low" art for distribution due to it’s reproducible nature as
woodblock prints.
Global art

Cosmos 1998
acrylic on canvas mounted on
board H300 × W450cm, 3
panels
©1998 Takashi Murakami/Kaikai
Kiki Co., Ltd.All Rights
Reserved.
Global art
Trained in traditional nihon-ga painting,Takashi Murakami’s work has
been described as a successful combination of Western with Japanese
techniques, and the traditional with the contemporary. He also
popularized the term ‘Superﬂat’, a word used to describe the two-
dimensional and ﬂat quality of culture in contemporary Japan

TAKASHI MURAKAMI "Splash Nude" 2001
Acrylic on canvas / Acrylique sur toile
35 1/2 x 47 1/4 inches / 90 x 120 cm
Global art

Takashi Murakami, The Castle ofTinTin, 1998,
Global art

Global art
TAKASHI MURAKAMI
"Tan Tan Bo" 2001 Acrylic on canvas mounted on board
11.9 feet x 17.8 feet x 2 1/2 inches (3 panels, / 360 x 540 x 6,7 cm

Global art
Murakami’s view of art as
entertainment and commerce
coupled with his
entrepreneurial spirit led to
the establishment of Hiropon
Factory in 1996, which
eventually became Kaikai Kiki
Co. in 2001. Partly inspired by
Andy Warhol’s Factory and
Damien Hirst’s masterful self-
branding, Murakami’s company
assists in the production of his
artworks and handles all the
merchandising. Kaikai Kiki Co.

Murakami and merchandise.
Murakami collaboration with
French fashion house Louis
Vuitton

Murakami inVersailles
The sculpture Flower Matango by Japanese artist Takashi Murakami is displayed atVersailles Palace.
Murakami, who was born in Tokyo in 1962, will display his sculptures and paintings in 15 rooms in the
palace's Hall of Mirrors and the apartments of the King and the Queen

Visitors gather around a sculpture by Japanese artist Takashi Murakami entitled
Tongari-Kun (Mr Pointy), at theVersailles Palace

The sculpture by Japanese artist Takashi Murakami is displayed at the
Château deVersailles

The Oval Buddha
Silver (2008) in the
Hercules Salon of
Versailles Palace
Global art

Oval Buddha by Takashi Murakami is displayed in theVersailles Palace gardens
Global art

Kiki,Takashi Murakami is displayed at the Palace ofVersailles
Global art

Ai Weiwei
Study of Perspective - Tiananmen Square
1995-2003

Ai Wei Wei is a cultural ﬁgure of international renown, he is an
activist, architect, curator, ﬁlmmaker, and China’s most famous artist.
Open in his criticism of the Chinese government,Ai was famously
detained for months in 2011, then released to house arrest.“I don’t
see myself as a dissident artist,” he says.“I see them as a dissident
government!” Some of Ai’s best known works are installations, often
tending towards the conceptual and sparking dialogue between the
contemporary world and traditional Chinese modes of thought and
production.
His infamous Coca ColaVase (1994) is a Han Dynasty urn
emblazoned with the ubiquitous soft-drink logo.Ai also served as
artistic consultant on the design of the “Bird’s Nest” stadium for
Beijing’s 2008 Olympics, and has curated pavilions and museum
exhibitions around the globe.
Global art

Ai Wei Wei
Coca ColaVase,
1997
*Vase from the
Tang dynasty
(618-907)
Global art
Urns of this vintage are
usually cherished for their
anthropological
importance. By employing
them as readymades,Ai
strips them of their aura
of preciousness only to
reapply it according to a
different system of
valuation.

Ai Wei Wei, PaintedVases, 2009
Global art

Ai Wei Wei, Map of China, 2004
* Tieli wood from dismantled temples of the Qing dynasty (1644-1911)
Global art

Ai Wei Wei, Forever, 2003
Global art

Ai Wei Wei, Snake Ceiling, 2009 backpacks
Global art

Ai Wei Wei, Fountain of Light, 2007
Global art

Ai Weiwei
Sunﬂower
Seeds 2010
For Sunﬂower Seeds (2010) at the Tate Modern, he scattered 100
million porcelain “seeds” handpainted by 1,600 Chinese artisans—a
commentary on mass consumption and the loss of individuality.

On October 23,Ai posted on Instagram: “In September LEGO
refused AiWeiwei Studio's request for a bulk order of LEGOs to
create artwork to be shown at the National Gallery ofVictoria as
they 'cannot approve the use of LEGOs for political works’.” Ai’s
post triggered a ﬂood of responses on social media criticizing
LEGO for "censorship and discrimination.”
Thousands of anonymous supporters offered to donate their
used LEGOs to Ai. #legosforweiwei
Ai Weiwei (@aiww) | Twitter

DanhVo, We the People, Copper 2012,
Kunsthalle Fridericianum
Global art

DanhVō’s conceptual works explore
themes of appropriation and
fragmentation, incorporating his
experience as aVietnamese-born Danish
citizen and consistently using his own life
as material.
Vō’s We the People (2011) is a
scrupulous replica of fragments of the
Statue of Liberty for which the artist
took pains to ensure the same copper
hammering technique.The resulting
hollow pieces were exhibited spread out
on the ﬂoor of a gallery space,
highlighting the unexpected fragility of
the original statue, visible in the thinness
of its material.
Global art

DanhVo, We the People, Copper 2012,
Kunsthalle Fridericianum

El Anatsui, City Plot, 2010, aluminum liquor bottle caps and copper wire, 184 x 140 inches,
Global art

El Anatsui began his tenure as a professor of art at the University of
Nsukka, Nigeria. Meticulously assembled from discarded aluminum
often sourced from liquor bottles, the recycled materials coalesce in
exquisite constellations that track postcolonial exchange and global
abstract traditions.
StressedWorld, 2011 is a quintessential example: delicate yet
monumental. Hovering between sculpture and painting, the metal
constructions defy categorization and have solidiﬁed Anatsui’s status
as a groundbreaking visual artist of international critical acclaim.
Global art

El Anatsui, Ink Splash, 2010, aluminum and copper, 124 x 149 5/8 inches
Global art

InstallationView Gravity and Grace: Monumental Works by El Anatsui
Brooklyn Museum, NewYork, February 8–August 4, 2013

Black Block, 2010, aluminum and copper wire, 207 1/2 x 135 7/8 inches,
Global art

Post Colonialism:
Popularized in the 1980s, the term refers to investigations
into the cultural situation of nations who have formerly
been subject to colonial control, predominantly at the
hands of European nations. A culture's aesthetics must be
seen both as a tool used in furthering its speciﬁc agenda
and as a product of its own political past.
the “Other”: the imaginary oppositional subjects whose
invention supports the deﬁnition of the self.
Key Figures: Frantz Fanon, Edward W. Said, Homi K. Bhabha.
Global art

YINKA SHONIBARE, MBE How to Blow up Two Heads at Once (Ladies), 2006 Two mannequins, two
guns, Dutch, wax printed cotton textile, shoes, leather riding boots, plinth 93 1/2 X 63 X 48 inches
Global art

YINKA SHONIBARE, MBE The Age
of Enlightenment - Adam Smith,
2008 Life-size ﬁberglass mannequin,
Dutch wax printed cotton, mixed
media Figure: 70 X 43 1/2 X 33 1/2
inches Plinth: 4' 11" X 5' 7" X 5"
Global art

YINKA SHONIBARE, MBE The
Sleep of Reason Produces
Monsters (Africa), 2008 C-print
mounted on aluminum Image size:
72 X 49.5 inches Framed: 81.5 x
58 x 2.5 inches Edition of 5
Global art

YINKA SHONIBARE,
MBE Wanderer, 2006
Wood, Plexiglas,
fabric, brass 67 3/4 X
48 X 17 1/4 inches
Edition of 8
Global art

Rirkrit Tiravanija, PadThai, 1991-'96
Relational Aesthetics:
French critic and philosopher Nicolas Bourriaud adopted the
term in the mid-1990s to refer to the approach of socially
conscious art of participation: an art that takes as its content
the human relations elicited by the artwork.
The relational art of the
1990s and 2000s is a
continuation of traditions
of participatory art (such
as the arts of the 1950s
and 1960s, Happenings,
and Conceptual Art).

Carsten Holler,Test Site 2006.

Carsten Holler,
Singing Canaries
Mobile), 2009

Rirkrit Tiravanija Untitled, 2002

All art is potentially participatory, if viewers are willing to engage with
the work. However, in Bourriaud’s formulation, not all participatory
art is relational.A relational work, for Bourriaud, does not aim at a
critique of the art institution or an expansion of the definition of art,
but rather focuses on the social interactions sparked by the art
exhibition.
For example, in Untitled 1992 (Free) of 1992–2007, first presented at
303 Gallery in NewYork, Rirkrit Tiravanija moved what he found in
the office and storage room into the exhibition space, reversing the
relationship between public and private; he invited the director and
his assistants to work there, and then cooked Thai curry in the office
for everybody in attendance.

Rirkrit Tiravanija: Untitled 1992 (Free), installation view, David Zwirner Gallery, NewYork,
2007; image courtesy of David Zwirner Gallery, NewYork

Rirkrit Tiravanija Untitled (Studio rehearsal, silent version),
InstallationView Spiral Gallery,Tokyo, 1996

“Art is important when artists exercise their freedom to
ask the biggest questions about us, our society, our past,
present and future.”
- author Rebecca Solnit

Joan Jonas and Feminist Art Movements

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