1 / 70

Barbara Kruger Untitled (You are Not Yourself), 1981

Photography out of Conceptual (Pop & Minimal, and performance) Art Why has photography moved from the margin to the center of contemporary art in the last 40 years?. Barbara Kruger Untitled (You are Not Yourself), 1981.

dralph
Télécharger la présentation

Barbara Kruger Untitled (You are Not Yourself), 1981

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Photography out of Conceptual (Pop & Minimal, and performance) Art Why has photography moved from the margin to the center of contemporary art in the last 40 years? Barbara Kruger Untitled (You are Not Yourself), 1981

  2. Installation view of the 1970 Information exhibition, MoMA NYC, which marks the institutional “success” of text-based Conceptual art documented by photographs.

  3. Joseph Kosuth, One and Three Chairs, 1965, wooden folding chair, photographic copy of a chair and photographic enlargement of a dictionary definition of a chair

  4. Gilbert and George, The Singing Sculpture, 1970, photograph of performance(Gilbert Proesch, b.1943, Italy; George Passmore, b. 1942, England). “Banal” photographic documentation of ephemeral works, like this “living sculpture.” Gilbert & George with Ginkgo series, British pavilion Venice Biennale 2005, included in the 2008 retrospective.

  5. Zhang Huan (China, b. 1965), To Raise the Water Level in a Fishpond by One Meter, 1997, performance documentation (detail), August 15, 1997, unemployed Beijing workers, Chromogenic print. Primary artwork is performance, not photograph.

  6. Denis Oppenheim, Reading Position for Second Degree Burn, 1970, Stage 1 and Stage 2, book, skin, solar energy, exposure time 5 hours, Jones Beach, New York, color photography and collage, 216 x 152 cm . Photographs “were there simply to indicate a radical art that had already vanished….necessary only as a residue for communication.”

  7. Bruce Nauman, Eating My Words, and Self-Portrait as a Fountain, from Eleven Color Photographs, 1966/67-70, chromogenic color print / performed for the camera

  8. John Baldessari (United States, b. 1931) (“Father” of Pictures Generation”)(left) Wrong, 1966-68, acrylic, photo-emulsion on canvas, 59 x 45 in.(right) Astronauts and Businessmen, 1988 Gelatin Silver photograph with applied paint, Museum of Fine Art, Houston

  9. Ed Ruscha, Flying A, Kingman, Arizona, from Twentysix Gasoline Stations, 1963, photographic book

  10. Compare Ruscha’s (1963) vision of the American West (above) with Ansel Adams’ interpretation based on Romantic landscape aesthetics, (right) Moonrise over Hernandez, NM. October 31, 1941. Adams made “Art” and did not work in other media. Through his deliberate lack of style, Ruscha draws attention “to the estranged relationship of people to their rural environment, but without staging or dramatizing the estrangement.”

  11. Adams, Grand Tetons and the Snake River, 1942 Bierstadt, The Rocky Mountains, 1863

  12. Ed Ruscha, Standard Station, Amarillo, Texas, 1963, oil on canvas, 5’5” x 10’, Dartmouth

  13. Ed Ruscha took the photographs contained in this folio with a motorized Nikon camera mounted to the back of a pick-up truck. This allowed him to photograph every house on the Sunset Strip while driving – first down one side of the street and then the other. The pictures were then pasted in order, and the individual buildings were labeled with their respective house numbers.

  14. Ed Ruscha, The Old Trade School Building, 2005, synthetic polymer on canvas 54 x 120 in, from The Course of Empire Series, US Pavilion, Venice Biennale, 2005(bottom) Blue Collar Trade School, 1992, Synthetic polymer on canvas, 54 x 120

  15. Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey,” 1967 from Artforum, vol.6, no.4, December 1967, pp. 48-51.

  16. Robert Smithson (American Environmental Artist, 1938-1973), Spiral Jetty, 1970, Great Salt Lake. Earthwork

  17. Anselm Kiefer (German, b. 1945), Heroic Symbol , 1969

  18. Hans Haacke, detail of Shapolsky et al, Manhattan Real Estate Holdings, a Real Time System as of May 1, 1971, 1971, two enlarged photographs, 142 black and white photographs with typewritten data sheets, six charts and one explanatory panel

  19. Bernhardand Hilla BecherConceptual (typological) photography(left) Gas Tanks, 1963 (right) Water Towers, 1980, 9 b/w photographs mounted on board, 62inH overall

  20. Thomas Struth (German, b. 1954), Sommerstrasse, Düsseldorf, 1980, Gelatin silver print, 16 1/2 x 22 1/2 in., Dallas Museum of Art

  21. Thomas Struth (Germany, b.1954, student of Bechers) Shinju-ku (Skyscrapers), Tokyo, 1986 (right) Ferdinand-von-Schill-Strasse, Dessau, 1991

  22. Candida Höfer (Germany, 1944, student of Bechers) (left) Stiftsbibliothek Klosterneuburg III, 2003, C-print, 68 in. HCa' Rezzonico Venezia II, 2003, C-print, 74 in. Width

  23. Thomas Ruff (German, b.1958), House #9 II, 1991, 72 in. Hone of series taken in early morning, apartment blocks in Eastern Germany

  24. Thomas Ruff, (left) Portrait, 1989, 63in. H(center and right) from Portrait series, 2001, conceptual typologies“absolute objectivity” like passport photos except for scale '... Like archetypal passport photos... young people with dead eyes and empty faces.' Ruff

  25. Martha Rosler, detail of The Bowery in Two Inadequate Descriptive Systems, 1974, 45 black and white photographs mounted on 24 mat-board panels, each panel 25 x 56 cm

  26. http://www.nytimes.com/interactive/2008/09/05/arts/rosler-audioss/index.htmlhttp://www.nytimes.com/interactive/2008/09/05/arts/rosler-audioss/index.html 2008 New York Times slide show: Rosler talking about her work 1960’s-2008 Martha Rosler (US, 1943) Cleaning the Drapes, from series, Bringing the War Home: House Beautiful, 1967-72

  27. (left) Eduardo PaolozziIts a Psychological Fact That Pleasure Helps Your Disposition, 1948, collage. Affirmative or adversarial (avant-garde) posture? Shown in his influential 1952 “Bunk” slide lecture that marks the beginning of British Pop. “Bunk” is from Henry Ford: “history is more or less bunk….we want to live in the present.” British Pop(right) Hannah Höch, The Beautiful Girl, collage (photomontage), 1919, Berlin Dada / Adversarial posture toward commercial culture – what was Paolozzi’s attitude towards it?

  28. Allan Sekula, detail of Aerospace Folktales, 1973, 51 black and white photographs in 23 frames, 56 x 72 cm each, three red canvas director’s chairs, three CD players and speakers, three simultaneous unsynchronized audiotape recordings: duration 17 min, 21 min and 23 min, edition 1 of 2 Produces Berthold Brecht’s “alienation effects” that make viewers continually aware that they are looking at a representation. Participants are highly conscious of the camera. Sekula consciously pretends a (fictional) objectivity

  29. "I took on the [persona of the] King, who was my male self. As a young feminist I was interested in what would be my male self…he became my political self." — Eleanor Antin Eleanor Antin, from The King of Solana Beach, 1974, Eleven black-and-white photographs, mounted on board with two text panels, 6 x 9 inches eachhttp://www.pbs.org/art21/artists/antin/index.html

  30. Eleanor Antin, Carving: A Traditional Sculpture, 1972, grid of 144 photographs of her naked body during a month of crash-dieting. Spoof (serious humor) on dieting obsession of post-sixties US women’s culture

  31. Eleanor Antin, 100 Boots: (top) 100 Boots Move On; (bottom) Tree BootsConceptual series of 51 pictures of black rubber boots photographed in various locations from coast to coast across the United States from 1971 to 1973.

  32. Cindy Sherman (US, b.1954) Untitled Film Still #27, 197969 film stills from 1977 (23 years old) to 1980. She stopped, she has explained, when she ran out of clichés.

  33. Cindy Sherman, (left) Untitled Film Still #35, 1979; (right) Untitled Film Still #54. 1980 The Museum of Modern Art, New York. 8 x 10” glossies just like “real” film stills. "She's good enough to be a real actress.“ Andy Warhol

  34. Cindy Sherman, (left) Untitled Film Still #37, (right) UFS #13, 1979

  35. (left) Cindy Sherman, Untitled #188, Chromogenic color print, 43 ½ x 65 ½,“ 1989 (right) Hans Bellmer (German, 1902-1975) 'Poupee' (Doll) in Hayloft, 1935-1936 (historical source for Sherman)

  36. (left) Sherrie Levine (US Postmodern Appropriation artist, b.1947) Untitled (After Alexander Rodchenko: 9), 1987 (right) Alexander Rodchenko (Russian Constructivist, avant-garde modernist), 1891-1956), Portrait of Mother, 1924 Postmodern “Appropriation” of “high” art challenged modernism’s key values of “originality” and “aura.” Key text: Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

  37. Andy Warhol, (left) Gold Marilyn Monroe, 1962, acrylic, silkscreen and oil on canvas; (right) Marilyn, 1962. Series followed Monroe’s (probable) suicide in August 1962. Appropriated photographic image from mass visual culture.

  38. (left) Sherrie Levine, After Walker Evans, 1981 – a photograph of reproduction of a photograph(right) Walker Evans, Hale County, Alabama, 1936. (Or is it the other way around?)Key text: Rosalind Krauss: “The Originality of the Avant-garde and other Modernist Myths” Post-structuralism – postmodern revision of modern theory

  39. Richard Prince (American, born 1949), Untitled (four single men with interchangeable backgrounds looking to the right), 1977, Mixed media on paper, 23 x 19 in. Metropolitan Museum, NYC

  40. Richard Prince, (left) Untitled (cowboy), 1981, Ektacolor photograph, 20 x 24 in (right) Untitled (cowboy) 1980-84, Ektacolor photograph, 27 x 40 in. “Pictures Generation” appropriation from mass visual culture: advertising photography

  41. Barbara Kruger (U.S. b. 1945), (left) Untitled (Your Gaze Hits the Side of My Face), 1981, gelatin silver print, 72 x 48 in.; (right) Untitled (I Shop Therefore I Am), 1987. Pictures Generation

  42. Louise Lawler (American, born 1947), Pollock and Tureen, Arranged by Mr. and Mrs. Burton Tremaine, Connecticut, 1984, silver dye bleach print, 28 x 39 in.

  43. Laurie Simons(U.S, b.1949),First Bathroom/Woman Standing, 1978

  44. Laurie Simmons Tourism: Parthenon/First View,1984, Cibachrome, 40 x 60 in.http://www.pbs.org/art21/artists/simmons/clip1.html#

  45. Jeff Wall (Canadian, 1946), Picture for Women, 1979transparency in light box, approx. 5 x 7ft

  46. (left) Jeff Wall, Picture for Women, transparency in lightbox, 1979, around 5ft x 7ft; compare (right) Edouard Manet, A Bar at the Folies-Bergère, oil on canvas, 1882

  47. Jeff Wall (Canada, b. 1946) Installation view of the exhibition Documenta 8, Kassel, Germany, 1987, showing The Storyteller, cibachrome transparency, lightbox, 1986

  48. Jeff Wall,A Sudden Gust of Wind (After Hokusai), transparency in light-box, 1993, 7ft x 12ft. Hokusai, Ejiri in Suruga Province c.1831-3, woodblock print from series, 36 Views of Fuji, 26 x 38 cm

  49. Jeff Wall, After Ralph Ellison, Invisible Man, The Preface, 1999-2001, cibachrome transparency, aluminum light box, 76 x 106 x 10 in. Literary source: Invisible Man (1952) by African-American novelist, Ralph Ellison (1913-1994)

More Related