UNIT 23 STUDY GUIDE
Post-WWII Art to Present:
The New York School, Formalism, Neo-Dada, Pop, Minimalism, Towards
Postmodernism, POMO and Beyond!!
(AP Art History)
Book
Chapter 34—From the Modern to the Postmodern and Beyond:
Art of the Later 20 th Century,
Pages 1031-1091
Terms
be able to identify these by sight, explain these in relation to art, and know an example of each in relation to a work of art
New York School
the Factory
Abstract Expressionism
benday dots
Works Progress Administration (WPA)
soft sculptures
Carl Jung (1875-1961)
installation
archetypes and the collective unconscious
Minimalism Existentialism
automatism
art brut
action painting
Postmodernism
Color Field Painting
Post-Minimalism
Excerpt from a statement by Adolph Gottlieb Process Art
and Rothko with Newman:
photography as documentation
“We favor the simple expression of the
Video Art
complex thought. We are for the large
site-specific
shape because it has the image of the
Earth Art
unequivocal. We wish to reassert the
Conceptual Art
picture plane. We are for flat forms
Happenings
because they destroy illusion and reveal
Performance Art
truth.” (1943)
Fluxus
Barnett Newman’s “zip”
the “death” of painting (late 1960s)
Post-Painterly Abstraction
Photorealism
Formalism
Arte Povera
Op Art
Feminism
assemblage
Outsider Art
Neo-Dada
appropriation
John Cage (1912-1992)
commodity
happening
kitsch
photosensitized silkscreen
Neo-Expressionism
Pop Art
Graffiti
planned obsolescence
the Whitney Biennial
commodity
Documenta
Architecture
Related Terms
low art/high art
New York School
the Factory
Louis
Abstract
Expressionism
dots Sullivan: “form follows function”
19th century revival styles: Gothic revival, Neo-benday skyscraper
like a column: cornice, shaft, podium
Works
Progress Administration
soft sculptures
Renaissance,
Neo-Baroque(WPA)
Prairie
Style
Carl
Jung
(1875-1961)
installation
Baron
Georges
Haussmann and the modernization
of reinforced concrete cantilever
archetypes
and
the
collective
unconscious
Minimalism
Existentialism
Paris
Bauhaus
automatism
art
brut
prefabrication
International Style (Gropius, Mies van der Rohe, Le
action
painting
Postmodernism
cast iron
skeleton
Corbusier)
Color
Field Painting
Post-Minimalism
elevator
Le
Excerpt
a statement
ArtCorbusier: “machine for living”
Arts andfrom
Crafts
movementby Adolph Gottlieb ProcessMies
der Rohe: “less is more”
and
Rothko with Newman:
photography van
as documentation
Art Nouveau
geodesic dome
“We
favor Chicago
the simple
Video Art
The Great
Fireexpression
(1871) of the
Postmodernism
complex
thought.
We are for the large
site-specific
steel
frame
construction
Robert Venturi (b. 1925): “Less is a bore.” (1966)
shape because
Earth Art
curtain
wall it has the image of the
unequivocal.
We wish to reassert the
Conceptual Art
skyscraper
Art Works picture plane. We are for flat forms
Happenings
know these works
bythey
sight,destroy
title, date,
medium,
scale, and location
(original
location also if moved) and be able to explain and
because
illusion
and reveal
Performance
Art
analyze these
in
relation
to
any
concept,
term,
element,
or
principle
truth.” (1943)
Fluxus
Barnett Newman’s “zip”
the “death” of painting (late 1960s)
Post-Painterly Abstraction
Photorealism
Formalism
Arte Povera
Op Art
Feminism
assemblage
Outsider Art
Neo-Dada
appropriation
John Cage (1912-1992)
commodity
Post-War Europe (Expression-ish)
− Alberto Giacometti, Man Pointing, (no. 5 of 6), 1947. Bronze, 5’ 10” x 3’ 1” x 1’
− Francis Bacon, Painting, 1946. Oil and pastel on linen, 6’ 5 7/8” x 4’ 4”.
− Jean Dubuffet, Vie Inquiète (Uneasy Life), 1953. Oil on canvas, 4’ 3” x 6’ 4”.
5 5/8”.
The New York School: Action painters and Color Field Painting
− Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7’ 3” x 9’ 10”.
− Hans Namuth, Jackson Pollock painting in his studio in Springs, Long Island,New York, 1950.
− Willem De Kooning, Woman I, 1950–1952. Oil on canvas, 6’ 3 7/8” x 4’ 10”.
− Barnett Newman, Vir Heroicus Sublimis, 1950–1951. Oil on canvas, 7’ 11 3/8” x 17’ 9 1/4”.
− Mark Rothko, No. 14, 1961 Oil on canvas, 9’ 6” x 8’ 9”.
− Ellsworth Kelly, Red Blue Green, 1963. Oil on canvas, 6’ 11 5/8” x 11’ 3 7/8”.
− Frank Stella, Mas o Menos (More or Less), 1964. Metallic powder in acrylic emulsion on canvas, 9’10” x13’8 1/2”.
− Helen Frankenthaler, The Bay, 1963. Acrylic on canvas, 6’ 8 7/8” x 6’ 9 7/8”.
Greenburgian Formalism: Post-Painterly Abstraction
Morris Louis, Saraband, 1959. Acrylic resin on canvas, 8’ 5 1/8” x 12’ 5”.
The Sculpture of David Smith
David Smith, Cubi XIX, 1964. Stainless steel, 9’ 4 ¾” X 4’ 10 ¼” X 3’ 4”.
Pop Art
Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing?, 1956. Collage, 10 1/4” x 9
3/4”.
Jasper Johns, Flag, 1954–1955, dated on reverse 1954. Encaustic, oil, and collage on fabric mounted on plywood, 3’ 6
1/4” x 5’ 5/8”.
Robert Rauschenberg, Canyon, 1959. Oil, pencil, paper, fabric, metal, cardboard box, printed paper, printed
reproductions, photograph, wood, paint tube, and mirror on canvas, with oil on bald eagle, string, and pillow, 6’ 9 3/4”
x 5’ 10” x 2’.
Roy Lichtenstein, Hopeless, 1963. Oil on canvas, 3’ 8” x 3’ 8”.
Andy Warhol, Green Coca-Cola Bottles, 1962. Oil on canvas, 6’ 10 1/2” x 4’ 9”.
Andy Warhol, Marilyn Diptych, 1962. Oil, acrylic, and silk-screen enamel on canvas, each panel 6’8” x4’9”.
Claes Oldenburg, various works exhibited at the Green Gallery, New York, 1962.
Minimalism
Tony Smith, Die, 1962. Steel, 6’ x 6’ x 6’.
Donald Judd, Untitled, 1969. Brass and colored fluorescent Plexiglass on steel brackets, 10 units, 6 1/8” x 2’ x 2’ 3” each,
with 6” intervals.
Process Oriented Art
Maya Ying Lin, Vietnam Veterans Memorial, Washington D.C., 1981-1983
Louise Nevelson, Tropical Garden II, 1957–1959. Wood painted black, 5’ 11 1/2” x 10’ 11 3/4” x 1’.
Louise Bourgeois, Cumul I, 1969. Marble, 1’ 10 3/8” x 4’ 2” x 4’.
EVA HESSE, Hang-Up, 1965–1966. Acrylic on cloth over wood and steel, 6’ x 7’ x 6’ 6”.
CHUCK CLOSE, Big Self-Portrait, 1967–1968. Acrylic on canvas, 8’ 11” x 6’ 11”
Lady Art
Judy Chicago, The Dinner Party, 1979. Multimedia, including ceramics and stitchery, 48’ x 48’ x 48’.
Cindy Sherman, Untitled Film Still #35, 1979. Gelatinsilverprint, 10” x 8”.
Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981. Photograph, red painted frame, 4’ 7” x 3’ 5”.
Guerrilla Girls, The Advantages of Being A Woman Artist, 1988. Offset print, 17”x22”.
Conceptual Approaches and Critiques of a Commodity Culture
Jeff Koons, Pink Panther, 1988. Porcelain, 3’ 5” x 1’ 8 1/2” x 1’ 7”.
Jenny Holzer, Untitled (selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a
Rock, Laments, and Child Text), 1989. Extended helical tricolor LED electronic display signboard, 16” x 162’ x 6”.
Solomon R. Guggenheim Museum, New York, December 1989–February 1990 (Partial Gift Of The Artist, 1989).
DUANE HANSON, Supermarket Shopper, 1970. Polyester resin and fiberglass polychromed in oil, with clothing, steel
cart, and groceries, life-size.
Issues of Race & Culture
Faith Ringgold, Who’s Afraid of Aunt Jemima?, 1983. Acrylic on canvas with fabric borders, quilted, 7’ 6” x 6’ 8”.
Kerry James Marshall, Souvenir I, 1997, acrylic, paper, collage, and glitter on canvas [MCA]
Painting still exists
Julian Schnabel, The Walk Home, 1984–1985. Oil, plates, copper, bronze, fiberglass, and Bondo on wood, 9’ 3” x 19’ 4”.
Leon Golub, Mercenaries IV, 1980. Acrylic on linen, 10’ x 19’ 2”.
Anselm Kiefer, Nigredo, 1984. Oil paint on photosensitized fabric, acrylic emulsion, straw, shellac, relief paint on paper
pulled from painted wood, 11’ x 18’.
New Ideas in Sculpture and Installation and Video
Felix Gonzalez-Torres, Portrait of Ross in L.A. [AIC]
Adrian Piper, Cornered, 1988. Mixed-media installation of variable size; video monitor, table, and birth certificates.
Bill Viola, The Crossing, 1996. Video/sound installation with two channels of color video projection onto screens
16’high.
Krzysztof Wodiczko, The Homeless Projection, 1986. Outdoor slide projection at the Soldiers and Sailors Civil War
Memorial, Boston.
Good One Tansey
Mark Tansey, A Short History of Modernist Painting, 1982. Oil on canvas, three panels, each 4’ 10” x 3’ 4”.
New Ideas from Europe
Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991, glass,
steel, and tiger shark in 5% formaldehyde solution
More ideas in video art
Matthew Barney, Cremaster series (begun in 1993, five volumes: Volume 4 completed in 1994,
Volume 1 in 1995, Volume 5 in 1997, Volume 2 in 1999, and Volume 3 in 2002)
“All art is quite worthless.” ~ Oscar Wilde
Architecture
The United States from the late 19th century into the 20th century
Louis Sullivan, Carson, Pirie, Scott Building, Chicago, 1899-1904 (with later additions)
Frank Lloyd Wright, Robie House, Chicago, 1907-1909
Frank Lloyd Wright, Fallingwater (Edgar J. Kaufmann, Sr. House), Bear Run, Pennsylvania, 1936-1939
Frank Lloyd Wright, Solomon R. Guggenheim Museum, New York, 1957-1959 (designed 1943)
Europeans in the early 20th century: Constructivism, De Stijl, and the International Style
Vladimir Tatlin, Model for Monument to the Third International, 1919-1920 (original destroyed)
Gerrit Rietveld, Schröder House, Utrecht, the Netherlands, 1924
Walter Gropius, Bauhaus, Dessau, Germany, 1925-1926 (ruined)
Le Corbusier, perspective drawing for the Domino House, Marseille, France, 1914
Le Corbusier, Villa Savoye, Poissy-sur-Seine, France, 1929
Le Corbusier, Notre Dame du Haut, Ronchamp, France, 1950-1955
Ludwig Mies van der Rohe and Philip Johnson, Seagram Building, New York, 1956-1958
The height of the International Style
Skidmore, Owings, and Merrill, Sears Tower, Chicago, 1974
New possibilities of concrete and form
Joern Utzon, Sydney Opera House, Sydney, 1959-1972
Expo ‘67 in Montreal
R. Buckminster Fuller, US Pavilion, Montreal (for Expo ‘67), 1967
Postmodern Architecture
Philip Johnson and John Burgee, AT&T Building, New York, 1978-1984
Michael Graves, Portland Public Services Building, Portland, Oregon, 1980
Richard Rogers and Renzo Piano, Centre National d’Art et de Culture Georges Pompidou (the “Beaubourg”), Paris, 1977
Frank Gehry
Frank Gehry, Guggenheim Museum, Bilbao, Spain, 1997
“All architecture has doorways” ~L.Caplice