Book: After Modern Art 1945-2000
Author: David Hopkins
ISBN: 0-19-284234-x
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Comments: I had to take an art class in community college and this was the required book. I heard about Warhol and Pollock growing up in the 1980s. This book helped shape these modern art icons that I heard about as a teenager. I now have new favorite artists like Rauschenberg and Lucian Freud. This is a must read for any Art 101 Student.
Here are my notes taken from the book. I hope they help....
Chapter 1: The Politics of Modernism: Abstract Expressionism and the European Informal
1. Artistic Principles: Realism and Abstraction
2. Postwar Years: Communist Russia favored legible Socialist Realism for a collective audience.
3. America and Europe favored difficult or 'avant-garde' art
4. 1930s Depression encouraged young artist to adopt left-wing principles.
5. Federal Art Project was based in New York
- easel Section
- hired many artist
- encouraged the artist to produce art in styles related to Soviet Socialist Realism
6. Artists to emerge from this were Jackson Pollock, Mark Rothko, and Arshile Gorky
7. These artists supported the Popular Front
- Popular Front was set up by European Communists
- Set up to combat Fascism
8. The Popular Front
- sympathized with European avant-garde
- French Surrealism or Dutch de Stijl
- Artistic innovation with radical social or political visions
9. Pollock and Rothko belonged to the Artists' Union
10. Artists' Union was dedicated to improving the conditions of working artists
11. American Artists' Congress supported a series of controversial Soviet maneuvers
12. American Artists' Congress was allied with the Popular Front.
13. The controversial Soviet maneuvers created disillusionment with avant-garde artists in New York.
14. 1938 'Towards a Free Revolutionary Art'
- Artistic and Socialist radicalism should go hand in hand.
- Creators: French Surrealist Leader Andre Breton, Mexican Muralist Diego Rivera and Leon Trotsky
15. Peggy Guggenheim patronage some artist
16. MOMA (New York's Museum of Modern Art) exported 1940s American modern artist.
Chapter 2: Duchamp's Legacy: The Rauschenberg-Johns Axis
1. Two Worlds
- the old Europe of the museum and the connoisseur
- the young America of the commercial gallery and the artistic commodity
2. Duchamp felt art should incorporate the dominant modes of social production.
3. Greenberg's Modernism
- Art stay true to its medium
- purifying its means
- maintaining aesthetic
- social distance
*4. What is Dada movement?
5. Duchamp renounced art which appealed solely to the eye. He called it "Retinal" Art
*6. ReadyMades= mass production of objects
*7. Boite= commodification
8. In 1945, the Surrealist emigres, in league with a few American writers, published a special edition of their art journal "View" containing a comprehensive range of accounts of Duchamp's activities.
9. 1957 Duchamp delivered an important lecture, "The Creative Art," in which he argued that 'the work of art is not performed by the artist alone' and that the spectator's point of view affects the all-important 'transubstantiation' of inert matter into art.
*10. Who is Zen Buddhist D.T. Suzuki?
11. Duchamp had a paradox and gratuitous humor to a more evangelical conception of the need to abolish watertight distinctions between art and life.
12. Cage saw the imposition of mind or human will as the enemy of creation
13. John Cage was born in California and was trained as a musician.
14. Black Mountain College in North Carolina.
15. Robert Rauschenberg was a Texan born painter
*16. What is Bauhaus?
17. 1952-1957 Senator Joseph McCarthy backed by President Eisenhower was known as the "McCarthy Reign of Terror" where people were accused of being Communist.
18. Cy Twonbly, painter, travelled with Rauschenberg.
19. At this time American painters were looking at Europe.
20. Rauschenberg visited Rome-based painter Alberto Burri.
21. McCarthyism correlated homosexuality with Communism. (p52)
22. More homosexuals than Communists ended up losing their jobs in the Federal government. (p53)
23. In 1954 Jasper Johns replaced Twombly as Rauschenberg's artistic ally. (p53)
24. Art Dealer Leo Castelli bought all of Jasper Johns collection in 1958. This was his big start. (p53)
25. Lee Krasner was married to Jackson Pollock and she was an Abstract Expressionist Artist. (p53)
26. Jasper Johns created "Target with Plaster Casts," it is a painting/sculpture. (p55)
27. Jasper John used letters and numbers and he described them as "things the mind already knows." (p58)
28. Jasper John said letters and numbers "might be thought to have some substantial 'existence,' but in fact hover somewhere between physical and conceptual states. They are, in this sense, 'homeless.'" (p58)
29. In Jasper Johns work, "Flag," Roth emphasizes that one could easily see the numbers as obliquely keyed to McCarthyism. (p61)
30. "The difference/(dimensional) between/ 2 mass produced objects/ [from the same mould] is an 'infra thin.'" Without knowledge of this note, Johns paralleled it with his cans. (p63)
Chapter 3 The Artist in Crisis: From Bacon to Beuys
1. Barbara Hepworth & Henry Moore were British Sculptors. (p67)
2. Henry Moore created the "Working Model for Reclining Figure of 1951." (p67)
3. Moore became the 'acceptable face of modernism' for the British. (p68)
4. Francis Bacon was a British painter. (p69)
5. Bacon extracted a violent, anti-humanist message from Surrealism. (p69)
6. Lucian Freud painted in the style of the live model. (p70)
7. Freud's style was part Neue Sachlichkeit (new objectivity) of German art in the 1920s. (p70)
8. Freud's famous painting "Interior in Paddington" 1951 (p70)
9. Albert Camus wrote "The Rebel" in 1953 (p70)
10. The individualist ethics of the 'School of London' were rooted in the reception of existentialist principles from France. (p72)
11. Alberto Giacometti was a Swiss-born sculptor. (p72)
12. Jean-Paul Sartre described Giacometti's process; 'he knows that space is a cancer on being, and eats everything; to sculpt, for him, is to take the fat off space" (p72)
13. Germaine Richier, French Sculptor, became famous in 1955 Female Artist (p72)
14. Antonin Artaud was a former Surrealist from France. (p75)
15. Artaud's famous work was "Self-Portrait." He wrote 'the human face is temporarily, /and I say temporarily,/ all that is left of the demand, / of the revolutionary demand of a body that is not yet and was never in keeping with this face. (p75)
16. "In the late 1950s France changed dramatically. The Algerian uprising of mid-1954, leading to the independence of that country in 1962, signaled the end of French colonial power." (p76)
17. The Nouveau Realiste is the New Realist. (p76)
18. Pierre Restany issued a manifesto in April 1960 (p76)
19. The New Realist Group consisted of: Yves Klein, Armand Fernandez, Jean Tinguely, and Daniel Spoerri (p76)
20. The New Realist Group dissolved when Yves Klein died in 1962. (p76)
21. Armand made a series of art pieces called " Accumulations" (p76)
-Household Rubbish (1960)
-Small Bourgeois Trash (1959)
22. Daniel Spoerri (p78)
-Tableau x-Pieges (Snare-Pictures) late 1950s
-An Anecdoted Topography of Chance
23. Pop Art started appearing around 1962 when Andy Warhol showed 32 images of Campbell's soup cans in an art gallery in Los Angeles. (p81)
24. Thierry de Duve felt Klein was substituting 'exchange-value' for 'use-value.' (p81)
25. Thierry de Duve sees Klein as committing a crime against his avant-garde. (p81)
26. "Klein wanted to renounce individuality and 'sensitize' the interpreter/consumer, yet retain the authorial mystique of the artist. (p81)
27. Roland Barthes wrote "The Death of the Author" (p82)
28. Thinkers Foucault, Jacques Derrida, Julia Kristeva (p82)
29. The figure of the author (or artist), popularly thought to enshrine these values, had to be dethroned. Barthes argued that 'a text is not a live of words revealing a single "theological" meaning (the "message" of the Author-God) but a multidimensional space in which a variety of writings, none of them original, blend and clash; Thus it became possible to empower the interpreter or 'reader': 'the birth of the reader must be at the expense of the Author.' (p82)
30. Piero Manzoni was a Milan-based artist who acted as Klein's shadow. (p83)
31. West German artists became involved in a complex struggle to recover their identities as modernists. (p87)
32. The Zero Group, formed in Dusseldorf in 1958, formed close links with European anti-informal trends. (p88)
33. Joseph Beuys, Professor of Sculpture at the Academy of Art in Dusseldorf, Germany 1961 (p88)
34. Steiner had seen the bee colony as a model for human development. (p88)
35. Beuys had subscribed to the most 'naive context of representation of meaning, the idealist metaphor: this object stands for that idea, and that idea is represented in this object." (p89)
36. George Baselitz, German who moved from East to West Germany in the mid-1950s (p92)
37. Eugen Schonebeck, German painter, worked with Baselitz to create paintings to protest the division of East and West Germany. (p92)
Chapter 4: Blurring Boundaries: Pop Art, Fluxus, and their Effects
1. The Independent Group came together in London around 1952-3 through the ICA (Institute of Contemporary Arts) (p95)
2. The ICA started the Pop Art Movement. (p97)
3. Famous Pop Artists: John McHale, John Voelcker, Richard Hamilton, Eduardo Paolozzi, Scottish-Sculptor. (p98)
4. Nigel Hendson created "Head of a Man" 1956 (p101)
5. "Richard Hamilton taught at London's Royal College of Art in the late 1950s, where Peter Blake and Richard Smith produced figure-based and abstract 'Pop' variants respectively. (p102)
6. David Hockney was a working-class painter from Bradford, UK (p 102)
7. Hockney's paintings of 1960-62 dealt openly with his homosexuality at a time when it was criminalized in Britain. (p 102)
8. Hockney moved to California in 1963 (p. 102)
9. The Feminine Mystique by Betty Friedan (p. 103)
10. The Female Eunuch by Germaine Greer (p. 103)
11. 1962 Korean born Nam June Paik performed "Zen for Head." It was a performance where he dipped his head and necktie in ink and tomato juice and proceeded to draw a line on the floor. (p. 105)
12. Shigeko Kubota created "Vagina Painting" 1965 (p 105)
13. Maciunas held Fluxus together. (p. 106)
14. Maciunas moved to Wiesbaden, West Germany, in 1960-1 (p. 106)
15. Fluxus Internationale Festspiele Neuester Musik took place in Wiesbaden in September 1962. (p 106)
16. Maciunas moved back to New York in 1963 (p 106)
17. Fluxus came apart when Maciunas supported Henry Flynt. Flynt was picketing a concert by German composer Karlheinz Stockhausen. Stockhausen was some how associated to a 'Serious Culture.'
18. Leo Castelli was an Italian born art dealer. (p 114)
19. French art critic Charles Baudelaire wrote 'The Painter of Modern Life' in 1863 (p 116)
20. This was an essay that 'argued that what distinguished the (male) artistic advocate of 'modernity' was a marrying of the aristocratic spirit of the 'dandy' with that of the flaneur in the desire to 'distil the eternal from the transitory' out of urban flux. (p 116)
21. Andy Warhol was interested in death. (p 116)
-Disasters Series (1962-1964)
-Marilyns
22. The Marilyns were produced right after her death. The artwork showed or 'dramatized how mass culture threads private tragedy through its machinery." (p 116)
23. Marilyn Dyptich (1962), some images were over inked or virtually invisible, connoted film. (p 116)
24. Warhol revived a genre called Neoclassical 'history painting: the heroic death.' (p 116)
25. Thomas Crow wrote an essay saying "When you see a gruesome picture over and over again, it doesn't really have any effect.' The image or images begin to numb you because of repeated exposure to it. (p 117)
26. Ed Ruscha created "Twentysix Gasoline Stations (1963), the first of a series of self-published books. These were photographs of gas stations from Los Angeles to Oklahoma on Route 66. (p 118)
27. 1940s New York photographer Weegee photographed grisly suicides and car accidents. MOMA bought his photographs and exhibited his work in 1943. (p 118)
28. Weegee had a best-seller book called "Naked City" (p 119)
29. James Rosenquist created "Painting for the American Negro" 1962-63. It was in response to Civil Rights and it had a slice of cake. (p 120)
Chapter 5: Modernism in Retreat: Minimalist Aesthetics and Beyond
1. The Artists mention in the last 3 chapters didn't like Clement Greenberg's Modernism. (p 131)
2. These artists opposed him by creating art using "bodily, the readymade, the mass-(re) produced, the 'kitsch,' and the aesthetically hybrid. (p 131)
3. Ad Reinhardt created "A Portend of the Artist as a Yhung Mandala" in 1955 ( p 131)
4. Frank Stella created "Die Fahne Hoch!' in 1959, which is part of his 'black paintings' series. 'Die Fahne Hoh!' translates as "Raise the Flag! a phrase from a Nazi marching song which doubles as an ironic rod towards Jasper Johns.
5. Initially a painter, Don Judd, had come to believe, in the wake of Stella's productions, that both painting and sculpture were inherently illusionistic and should be superseded by the creation of what he called 'specific objects' in literal space. (p135)
6. Don Judd's "production of this new artistic genre, which took the form of single or repeated geometrical objects, was part of a broader move towards "Minimalism.' (p. 135)
7. Stella and Judd made much of the fact that their new works were 'non-relational.' (p 136)
8. Anthony Caro was a British Sculptor. (p. 136)
9. David Smith was an American Sculptor. ( p. 136)
10. Sol Levitt created "Circles, Grids, Arcs from Four Corners and Sides" in 1973. (p 143)
11. Michael Fried published an essay titled "Art and Objecthood" in 1967. His essay defended the Modernist cause against Minimalism. He called it "Literalism" in his essay. (p. 143)
12. Carl Andre created "Magnesium Square" in 1969. (p 144)
13. Agnes Martin created "Flower in the Wind" in 1963. (p 144)
14. Agnes Martin reminded us that Minimalism was a male movement. (p 146)
15. British sculptor Bridget Riley created "Blaze 1" in 1962. (p 147)
16. Robert Irwin and James Turrell's "Light and Space Movement," formed in Los Angeles in the late 1960s, was dedicated to sensitizing spectators to the mysteries of natural light. (p 148)
17. Robert Morris published a short article called "Anti Form." In this article he argued that rather than being preconceived, sculpture should follow the dictates of process. (p 149)
18. He also said "Seriality should be abandoned in favour of randomness and materials should be allowed to find their own forms in response to principles such as gravity." (p 149)
19. Lucy Lippard was a female curator in the 1960s. (p. 149)
20. Eva Hesse is a German born artist that created "Accession II" in 1967. (p 149)
21. Eva Hesse's "journals bear witness to the pressures of maintaining a dual identity as a woman and an artist. 'I cannot be something for everyone....woman, beautiful, artist, wife, housekeeper, cook." (p 151)
22. Louise Bourgeois, French born artist, created "Destruction of the Father" in 1974. (p 152)
23. Leo Castelli was an influential art dealer. (p 152)
24. Robert Morris organized an exhibition under the 'Anti Form' called '9 at Castellis' in the warehouse of Leo Castelli's gallery. (p 152)
25. The gallery exhibition brought fame to Richard Serra and Bruce Nauman. (p 152)
26. Bruce Nauman created "Dance or Exercise on the Perimeter of a Square (film) in 1967-68. (p 154)
Chapter 6: The Death of the Object: The Move to Conceptualism
1. Modernist abstraction had reached an impasse in the mid-1960s and Buren was one of many artists who felt that the entire 'framing' or institutional conditions for avant-garde art needed to be redefined. (p 161)
2. Buren felt Modernist art is defined by context. (p 161)
3. Daniel Buren created "Untitled" in 1968. He used stripe motifs in a public context. (p 162)
4. Isidore Isou promoted radicalism in Art. (p 162)
5. Isou had a movement called "Lettrism." (p 162)
6. This group was close to Dada. (p 162)
7. Lettrism is seen as counter cultural provocation, a bridge between Dada and the youth cults of the 1960s and 1970s. (p 162)
8. Lettrism is linked to another French movement called Nouveau Reaslisme because it attacks language. (p 162)
9. Raymond Hains and Jacques de Villegle developed "decollage." (p 162)
10. Decollage is tearing sections from compacted layers of posters or billboard advertisements to bring about collisions of imagery and lettering. (p 163)
11. Asper John created "La Canard Inquietant, from Modifications Series," in 1959. (p 163)
12. Situationist International was group that integrated aesthetics and politics. (p 163)
13. The group was founded in 1967. (p 163)
14. Guy Debord was the main theorist of the group. (p 163)
15. Debord felt that everyday life needed to be interrogated as rigorously as class relations. (p 163)
16. Debord published a book called "The Society of the Spectacle." In that book he discussed the myths of social freedom. (p 163)
17. Situationists devised two strategies:
-Device (drift)
-Detournement (Diversion)
18. Derive means maybe mapping alternative routes through the city in accordance with their desires rather than civic prescriptions. (p 163)
19. Surrealists called this 'objective chance.' (p 164)
20. Detournment means rearrangement and derailing of existing routines and sign-systems. (p 164)
21. Giuseppe Pinot-Gallizio hijacked the principle of the production line to create 'industrial paintings' by the yard. (p 164)
22. Asper John created modifications consisted of scrawled interventions on banal second-hand oil paintings. (p 164)
23. Marcel Broodthaers was based in Belgium and was poet. (p 165)
24. Broodthaers believed in the Marxist notion of 'reification' was art's defining principle. (p 165)
25. Reification means the illusory sense that social relations or values are immutable, which extends to capitalism's implantation of abstract values in material goods. (p 165)
26. Broodthaers created a fictitious museum as a project from 1968-1972. The objects in the museum were accompanied by signs asserting "This is not a work of art." The declarations implied that museums obscure the ideological functioning of images via the imposition of spurious value judgements or taxonomies. (p 165)
27. Hans Haacke was a German born artist. (p 166)
28. Italian Artist Michelangelo Pistoletto produced large, polished stainless-steel sheets which incorporated the reflections of spectators within partially filled-in painted scenarios. The Vietnam of 1965 inserts viewers between demonstrators carrying an anti-war banner. (p 169)
29. Germano Celant, critic, named this art as 'Arte Povera.' (p 170)
30. It is important, however, to see Arte Povera as reflecting a set of specifically Italian circumstances. (p 170)
31. Robert Smithson an American Minimalist created "Spiral Jetty" in 1970. (p 172)
32. The artwork was a crew of workmen with trucks and they extended a strip of the mainland into the lake's pinkish water forming a spiral. (p 172)
33. Walter De Maria's "Vertical Earth Kilometer" typifies a conviction, pervasive by the mid-1970s, that thought was as much an artistic material as any other. (p 177)
34. Theory about art could in itself be considered art. (p 179)
35. Victor Burgin in particular saw photography as a means to a more productive social engagement. (p 179)
36. Burgin was aided in this theory by the French writer Roalnd Barthes's "Elements of Semiology," published in English in 1967. (p 179)
37. Barthes's contribution to literary theory had partly consisted in adapting the findings of the Swiss linguist Ferdinand de Saussuve whereby, in language, the relation between 'signifier' (word or utterance) and 'signified' (the thing to which it refers) is shown to be fundamentally arbitrary. (p 179-180)
38. "Fine Art" productions were no more worthy of analysis than other cultural artifacts. (p 181)
39. Bruce McLean and several friends presented themselves as "Nice Style," the "World's First Pose Band." The group was dedicated to parodying the posing of rock stars. (p 194)
Chapter 7: Postmodernism: Theory and Practice in the 1980s
1. Charles Jencks, British architect, said "that modern architecture had died in St. Louis, Missouri, on 15 July 1972 at 3:32pm, when much of the notorious Pruitt Igoe housing scheme was dynamited. (p 198)
2. Jean-Francois Lyotard, French Philosopher, wrote a book called "The Postmodern Condition" in 1979. He said in his book that "the grand narratives that had informed Western societies since the Enlightenment (in other words since the eighteenth century, when European philosophers such as Kant and Rousseau had laid the intellectual foundations for modernism) could no longer sustain credibility. (p 198)
3. Lyotard believed that "these abstract systems of thought, by which social institutions validated themselves, were infused with ideals of 'social perfectibility' or 'progress.' (p 198)
4. German Philosopher, Jurgen Habermas, believed that "art, science, and morality had to remain as specialized 'narratives' while last-ditch efforts were made to create bridges between them. (p 199)
5. Frederic Jameson, American Literacy Critic, wrote "Postmodernism, or the Cultural Logic of Late Capitalism." He argued that culture's destiny was inextricably bound to capitalism. (p 199)
6. Jameson believed that technologies of reproduction (such as television) had replaced technologies of production. (p 199)
7. American Artist, Cindy Sherman, created "Untitled Film Stills" in 1977. (p 200)
8. Sigmar Polke created "This Is How You Sit Correctly (after Goya)" in 1982. (p 202)
9. Jameson believed "that postmodern sensibility was itself often experienced as a form of elation or euphoria, and his related notion of a 'postmodern sublime' will be dealt with in due course. (p 203)
10. Art in the 1980s fell into two camps:
a) Those who were content to surrender to the 'free play of the signifier.'
b) Those who wanted to reassess modernism
11. Those who wanted to reassess modernism used Duchampion, Situationist, or Conceptualist Strategies. (p 203)
12. Painting first demands consideration. (p 203)
13. Robert Crumb was an underground comic-book artist. (p 204)
14. Leon Golub created "Mercenaries and Interrogations" in 1982. (p 204)
15. Francesco Clemente, Italian Painter, created excellent pieces that rivaled Leon Golub. (p 205)
16. Famous German Artist in the 1980s: Georg Baselitz, Marcus Lupertz, Anselm Kiefer (p 206)
17. Kiefer created "Shulamite" in 1983 which its title derives from a poem by an ex-concentration-camp internee. (p 206)
18. Jasper Johns's painting "False Start" created in 1959 set a record for a living artist in 1988 when it fetched $17.1 million. (p 206)
19. In 1986, Michael Werner, Cologne, West Germany Art Dealer, married Mary Boone, a New York Art Dealer. (p 207)
20. Michael Werner helped establish German Neo-Expressionists artists like Baselitz and Lupertz. (p 207)
21. Julian Schnabel, American Painter (p 208)
22. One Italian artists came to prominence in Italy in the 1980s. His name was Sandro Chia and he created "Transavanguardia." (p 208)
23. Most or all of Schnable work was owned by Charles and Maurice Saatchi. They were the owners of a global advertising agency called Saatchi and Saatchi. They were famous for bulk buying artists works in the 1980s. (p 208)
24. Hans Haacke created "Taking Stock (unfinished)" in 1983-1984. (p 208)
25. In 1976 the critics Rosalind Krauss and Annette Michelson had founded a magazine whose title, October, invoked the militancy of the Russian avant-garde after the 1917 revolution. (p 208)
26. By the early 1980s younger critics such as Craig Owens and Hal Foster had gravitated towards October and were arguing for an art that was strategically 'deconstructive' rather than symptomatically 'post-modern,' like the new painting. (p 210)
27. Jenny Holzner, American artist, specialized in inserting highly ambiguous printed statements into the public domain. (p 210)
28. Jenny Holzzner created "Abuse of Power Comes as No Surprise" in 1983. (p 210)
29. Malcolm Morley, British born Painter, created "SS Amsterdam in Front of Rotterdam" in 1966. He pioneered a form of 'photorealism.' (p 213)
30. As photorealism became fashionable, Morley grew frustrated with his seamless surfaces. He created "The Ultimate Anxiety" in 1978. (p 213)
31. Eric Fischl, American Artist, created "The Old Man's Boat and the Old Man's Dog" in 1982. It was similar to Theodore Gericault's famous painting "Raft of the Medusa" in 1819, which was a reference to early 19th century French government corruption. (p214)
32. Gerhard Richter, German Painter, created "October 18, 1977" in 1988 which mimic the appearance of blurred black and white photographs. (p 215)
33. Richter was align to American Artist Vija Celmins. (p 215)
34. Vija Celmins was a Latvian-born artist. (p 215)
35. Paintings were once a 'container' for public conscience. Then paintings became replete with photography, a technology often employed to collapse critical 'distance.' (p 216)
36. Jimmie Durham is a Cherokee Indian artist. (p 222)
37. Lorna Simpson was a female African American artist created "Guarded Conditions" in 1989. (p 223)
38. Peter Halley, a painter, readjusted formal devices from Modernist abstractions to reveal latent technocratic metaphors. (p 223)
39. Halley theorize the tendency perceived of distractions between 'reality' and 'simulation' as intrinsic to the market-led world of late capitalism. (p 223)
40. As theorized by the French writer Julia Kristeva, 'abjection' covers both an action, of objecting, by which primordial experiences of the separation of inside and outside, or self and other, are re-experienced via bodily expulsions, and a wretched condition, that of being abject. (p 225)
41. Helen Chadwick, British Artist, created "Oval Court" and "Loop My Loop." (p 228)
Chapter 8: Into the 1990s
1. Jeff Wall, Canadian Artist, created "Dead Troops Talk." (p 233)
2. Ilya Kabakov is a Russian Artist from Moscow. She created "The Toilet," which reflected how collectivism in Russia was giving away to privatization and on the dislocations of 'public' and 'private' involved for ordinary people. (p 233)
3. Zofia Kulik, Polish artist, created "From the Columns Series: Right Sword, Left Garland" in 1992. (p 236)
4. The fact was that much politically motivated art of the 1980s shown in 'artist-run' venues supported by the NEA was actually seen by audiences who, far from having their assumptions 'disrupted,' as the critical rhetoric claimed, were already committed 'non-conformists.' (p 237)
5. By the mid-1990s there was a gradual withdrawal of US government arts support and a shift from public to private sector sponsorship. (p 237)
6. In Britain they created a national lottery in 1993 to offset the cost and for public funds to support the visual arts. (p 237)
7. Famous British Artist of the 1980s: Damien Hirst, Karsten Schubert, Jay Jopling, Sarah Lucas, Anya Gallaccio, Mat Collishaw, Gary Hume (p 238)
8. Young British Artist Banner Known as 'YBa.' (p 238)
9. Sophie Calle wrote "Double Game" in 1999 then reenacted the characters movements in Venice in real life. (p 240)
10. Yinka Shonibare, British Artist born in UK but brought up in Nigeria created "How Does a Girl Like You Get To Be A Girl Like You?" in 1997. (p 242)
U-$13.06-B-0.006065-BE-2,154
Author: David Hopkins
ISBN: 0-19-284234-x
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Comments: I had to take an art class in community college and this was the required book. I heard about Warhol and Pollock growing up in the 1980s. This book helped shape these modern art icons that I heard about as a teenager. I now have new favorite artists like Rauschenberg and Lucian Freud. This is a must read for any Art 101 Student.
Here are my notes taken from the book. I hope they help....
Chapter 1: The Politics of Modernism: Abstract Expressionism and the European Informal
1. Artistic Principles: Realism and Abstraction
2. Postwar Years: Communist Russia favored legible Socialist Realism for a collective audience.
3. America and Europe favored difficult or 'avant-garde' art
4. 1930s Depression encouraged young artist to adopt left-wing principles.
5. Federal Art Project was based in New York
- easel Section
- hired many artist
- encouraged the artist to produce art in styles related to Soviet Socialist Realism
6. Artists to emerge from this were Jackson Pollock, Mark Rothko, and Arshile Gorky
7. These artists supported the Popular Front
- Popular Front was set up by European Communists
- Set up to combat Fascism
8. The Popular Front
- sympathized with European avant-garde
- French Surrealism or Dutch de Stijl
- Artistic innovation with radical social or political visions
9. Pollock and Rothko belonged to the Artists' Union
10. Artists' Union was dedicated to improving the conditions of working artists
11. American Artists' Congress supported a series of controversial Soviet maneuvers
12. American Artists' Congress was allied with the Popular Front.
13. The controversial Soviet maneuvers created disillusionment with avant-garde artists in New York.
14. 1938 'Towards a Free Revolutionary Art'
- Artistic and Socialist radicalism should go hand in hand.
- Creators: French Surrealist Leader Andre Breton, Mexican Muralist Diego Rivera and Leon Trotsky
15. Peggy Guggenheim patronage some artist
16. MOMA (New York's Museum of Modern Art) exported 1940s American modern artist.
Chapter 2: Duchamp's Legacy: The Rauschenberg-Johns Axis
1. Two Worlds
- the old Europe of the museum and the connoisseur
- the young America of the commercial gallery and the artistic commodity
2. Duchamp felt art should incorporate the dominant modes of social production.
3. Greenberg's Modernism
- Art stay true to its medium
- purifying its means
- maintaining aesthetic
- social distance
*4. What is Dada movement?
5. Duchamp renounced art which appealed solely to the eye. He called it "Retinal" Art
*6. ReadyMades= mass production of objects
*7. Boite= commodification
8. In 1945, the Surrealist emigres, in league with a few American writers, published a special edition of their art journal "View" containing a comprehensive range of accounts of Duchamp's activities.
9. 1957 Duchamp delivered an important lecture, "The Creative Art," in which he argued that 'the work of art is not performed by the artist alone' and that the spectator's point of view affects the all-important 'transubstantiation' of inert matter into art.
*10. Who is Zen Buddhist D.T. Suzuki?
11. Duchamp had a paradox and gratuitous humor to a more evangelical conception of the need to abolish watertight distinctions between art and life.
12. Cage saw the imposition of mind or human will as the enemy of creation
13. John Cage was born in California and was trained as a musician.
14. Black Mountain College in North Carolina.
15. Robert Rauschenberg was a Texan born painter
*16. What is Bauhaus?
17. 1952-1957 Senator Joseph McCarthy backed by President Eisenhower was known as the "McCarthy Reign of Terror" where people were accused of being Communist.
18. Cy Twonbly, painter, travelled with Rauschenberg.
19. At this time American painters were looking at Europe.
20. Rauschenberg visited Rome-based painter Alberto Burri.
21. McCarthyism correlated homosexuality with Communism. (p52)
22. More homosexuals than Communists ended up losing their jobs in the Federal government. (p53)
23. In 1954 Jasper Johns replaced Twombly as Rauschenberg's artistic ally. (p53)
24. Art Dealer Leo Castelli bought all of Jasper Johns collection in 1958. This was his big start. (p53)
25. Lee Krasner was married to Jackson Pollock and she was an Abstract Expressionist Artist. (p53)
26. Jasper Johns created "Target with Plaster Casts," it is a painting/sculpture. (p55)
27. Jasper John used letters and numbers and he described them as "things the mind already knows." (p58)
28. Jasper John said letters and numbers "might be thought to have some substantial 'existence,' but in fact hover somewhere between physical and conceptual states. They are, in this sense, 'homeless.'" (p58)
29. In Jasper Johns work, "Flag," Roth emphasizes that one could easily see the numbers as obliquely keyed to McCarthyism. (p61)
30. "The difference/(dimensional) between/ 2 mass produced objects/ [from the same mould] is an 'infra thin.'" Without knowledge of this note, Johns paralleled it with his cans. (p63)
Chapter 3 The Artist in Crisis: From Bacon to Beuys
1. Barbara Hepworth & Henry Moore were British Sculptors. (p67)
2. Henry Moore created the "Working Model for Reclining Figure of 1951." (p67)
3. Moore became the 'acceptable face of modernism' for the British. (p68)
4. Francis Bacon was a British painter. (p69)
5. Bacon extracted a violent, anti-humanist message from Surrealism. (p69)
6. Lucian Freud painted in the style of the live model. (p70)
7. Freud's style was part Neue Sachlichkeit (new objectivity) of German art in the 1920s. (p70)
8. Freud's famous painting "Interior in Paddington" 1951 (p70)
9. Albert Camus wrote "The Rebel" in 1953 (p70)
10. The individualist ethics of the 'School of London' were rooted in the reception of existentialist principles from France. (p72)
11. Alberto Giacometti was a Swiss-born sculptor. (p72)
12. Jean-Paul Sartre described Giacometti's process; 'he knows that space is a cancer on being, and eats everything; to sculpt, for him, is to take the fat off space" (p72)
13. Germaine Richier, French Sculptor, became famous in 1955 Female Artist (p72)
14. Antonin Artaud was a former Surrealist from France. (p75)
15. Artaud's famous work was "Self-Portrait." He wrote 'the human face is temporarily, /and I say temporarily,/ all that is left of the demand, / of the revolutionary demand of a body that is not yet and was never in keeping with this face. (p75)
16. "In the late 1950s France changed dramatically. The Algerian uprising of mid-1954, leading to the independence of that country in 1962, signaled the end of French colonial power." (p76)
17. The Nouveau Realiste is the New Realist. (p76)
18. Pierre Restany issued a manifesto in April 1960 (p76)
19. The New Realist Group consisted of: Yves Klein, Armand Fernandez, Jean Tinguely, and Daniel Spoerri (p76)
20. The New Realist Group dissolved when Yves Klein died in 1962. (p76)
21. Armand made a series of art pieces called " Accumulations" (p76)
-Household Rubbish (1960)
-Small Bourgeois Trash (1959)
22. Daniel Spoerri (p78)
-Tableau x-Pieges (Snare-Pictures) late 1950s
-An Anecdoted Topography of Chance
23. Pop Art started appearing around 1962 when Andy Warhol showed 32 images of Campbell's soup cans in an art gallery in Los Angeles. (p81)
24. Thierry de Duve felt Klein was substituting 'exchange-value' for 'use-value.' (p81)
25. Thierry de Duve sees Klein as committing a crime against his avant-garde. (p81)
26. "Klein wanted to renounce individuality and 'sensitize' the interpreter/consumer, yet retain the authorial mystique of the artist. (p81)
27. Roland Barthes wrote "The Death of the Author" (p82)
28. Thinkers Foucault, Jacques Derrida, Julia Kristeva (p82)
29. The figure of the author (or artist), popularly thought to enshrine these values, had to be dethroned. Barthes argued that 'a text is not a live of words revealing a single "theological" meaning (the "message" of the Author-God) but a multidimensional space in which a variety of writings, none of them original, blend and clash; Thus it became possible to empower the interpreter or 'reader': 'the birth of the reader must be at the expense of the Author.' (p82)
30. Piero Manzoni was a Milan-based artist who acted as Klein's shadow. (p83)
31. West German artists became involved in a complex struggle to recover their identities as modernists. (p87)
32. The Zero Group, formed in Dusseldorf in 1958, formed close links with European anti-informal trends. (p88)
33. Joseph Beuys, Professor of Sculpture at the Academy of Art in Dusseldorf, Germany 1961 (p88)
34. Steiner had seen the bee colony as a model for human development. (p88)
35. Beuys had subscribed to the most 'naive context of representation of meaning, the idealist metaphor: this object stands for that idea, and that idea is represented in this object." (p89)
36. George Baselitz, German who moved from East to West Germany in the mid-1950s (p92)
37. Eugen Schonebeck, German painter, worked with Baselitz to create paintings to protest the division of East and West Germany. (p92)
Chapter 4: Blurring Boundaries: Pop Art, Fluxus, and their Effects
1. The Independent Group came together in London around 1952-3 through the ICA (Institute of Contemporary Arts) (p95)
2. The ICA started the Pop Art Movement. (p97)
3. Famous Pop Artists: John McHale, John Voelcker, Richard Hamilton, Eduardo Paolozzi, Scottish-Sculptor. (p98)
4. Nigel Hendson created "Head of a Man" 1956 (p101)
5. "Richard Hamilton taught at London's Royal College of Art in the late 1950s, where Peter Blake and Richard Smith produced figure-based and abstract 'Pop' variants respectively. (p102)
6. David Hockney was a working-class painter from Bradford, UK (p 102)
7. Hockney's paintings of 1960-62 dealt openly with his homosexuality at a time when it was criminalized in Britain. (p 102)
8. Hockney moved to California in 1963 (p. 102)
9. The Feminine Mystique by Betty Friedan (p. 103)
10. The Female Eunuch by Germaine Greer (p. 103)
11. 1962 Korean born Nam June Paik performed "Zen for Head." It was a performance where he dipped his head and necktie in ink and tomato juice and proceeded to draw a line on the floor. (p. 105)
12. Shigeko Kubota created "Vagina Painting" 1965 (p 105)
13. Maciunas held Fluxus together. (p. 106)
14. Maciunas moved to Wiesbaden, West Germany, in 1960-1 (p. 106)
15. Fluxus Internationale Festspiele Neuester Musik took place in Wiesbaden in September 1962. (p 106)
16. Maciunas moved back to New York in 1963 (p 106)
17. Fluxus came apart when Maciunas supported Henry Flynt. Flynt was picketing a concert by German composer Karlheinz Stockhausen. Stockhausen was some how associated to a 'Serious Culture.'
18. Leo Castelli was an Italian born art dealer. (p 114)
19. French art critic Charles Baudelaire wrote 'The Painter of Modern Life' in 1863 (p 116)
20. This was an essay that 'argued that what distinguished the (male) artistic advocate of 'modernity' was a marrying of the aristocratic spirit of the 'dandy' with that of the flaneur in the desire to 'distil the eternal from the transitory' out of urban flux. (p 116)
21. Andy Warhol was interested in death. (p 116)
-Disasters Series (1962-1964)
-Marilyns
22. The Marilyns were produced right after her death. The artwork showed or 'dramatized how mass culture threads private tragedy through its machinery." (p 116)
23. Marilyn Dyptich (1962), some images were over inked or virtually invisible, connoted film. (p 116)
24. Warhol revived a genre called Neoclassical 'history painting: the heroic death.' (p 116)
25. Thomas Crow wrote an essay saying "When you see a gruesome picture over and over again, it doesn't really have any effect.' The image or images begin to numb you because of repeated exposure to it. (p 117)
26. Ed Ruscha created "Twentysix Gasoline Stations (1963), the first of a series of self-published books. These were photographs of gas stations from Los Angeles to Oklahoma on Route 66. (p 118)
27. 1940s New York photographer Weegee photographed grisly suicides and car accidents. MOMA bought his photographs and exhibited his work in 1943. (p 118)
28. Weegee had a best-seller book called "Naked City" (p 119)
29. James Rosenquist created "Painting for the American Negro" 1962-63. It was in response to Civil Rights and it had a slice of cake. (p 120)
Chapter 5: Modernism in Retreat: Minimalist Aesthetics and Beyond
1. The Artists mention in the last 3 chapters didn't like Clement Greenberg's Modernism. (p 131)
2. These artists opposed him by creating art using "bodily, the readymade, the mass-(re) produced, the 'kitsch,' and the aesthetically hybrid. (p 131)
3. Ad Reinhardt created "A Portend of the Artist as a Yhung Mandala" in 1955 ( p 131)
4. Frank Stella created "Die Fahne Hoch!' in 1959, which is part of his 'black paintings' series. 'Die Fahne Hoh!' translates as "Raise the Flag! a phrase from a Nazi marching song which doubles as an ironic rod towards Jasper Johns.
5. Initially a painter, Don Judd, had come to believe, in the wake of Stella's productions, that both painting and sculpture were inherently illusionistic and should be superseded by the creation of what he called 'specific objects' in literal space. (p135)
6. Don Judd's "production of this new artistic genre, which took the form of single or repeated geometrical objects, was part of a broader move towards "Minimalism.' (p. 135)
7. Stella and Judd made much of the fact that their new works were 'non-relational.' (p 136)
8. Anthony Caro was a British Sculptor. (p. 136)
9. David Smith was an American Sculptor. ( p. 136)
10. Sol Levitt created "Circles, Grids, Arcs from Four Corners and Sides" in 1973. (p 143)
11. Michael Fried published an essay titled "Art and Objecthood" in 1967. His essay defended the Modernist cause against Minimalism. He called it "Literalism" in his essay. (p. 143)
12. Carl Andre created "Magnesium Square" in 1969. (p 144)
13. Agnes Martin created "Flower in the Wind" in 1963. (p 144)
14. Agnes Martin reminded us that Minimalism was a male movement. (p 146)
15. British sculptor Bridget Riley created "Blaze 1" in 1962. (p 147)
16. Robert Irwin and James Turrell's "Light and Space Movement," formed in Los Angeles in the late 1960s, was dedicated to sensitizing spectators to the mysteries of natural light. (p 148)
17. Robert Morris published a short article called "Anti Form." In this article he argued that rather than being preconceived, sculpture should follow the dictates of process. (p 149)
18. He also said "Seriality should be abandoned in favour of randomness and materials should be allowed to find their own forms in response to principles such as gravity." (p 149)
19. Lucy Lippard was a female curator in the 1960s. (p. 149)
20. Eva Hesse is a German born artist that created "Accession II" in 1967. (p 149)
21. Eva Hesse's "journals bear witness to the pressures of maintaining a dual identity as a woman and an artist. 'I cannot be something for everyone....woman, beautiful, artist, wife, housekeeper, cook." (p 151)
22. Louise Bourgeois, French born artist, created "Destruction of the Father" in 1974. (p 152)
23. Leo Castelli was an influential art dealer. (p 152)
24. Robert Morris organized an exhibition under the 'Anti Form' called '9 at Castellis' in the warehouse of Leo Castelli's gallery. (p 152)
25. The gallery exhibition brought fame to Richard Serra and Bruce Nauman. (p 152)
26. Bruce Nauman created "Dance or Exercise on the Perimeter of a Square (film) in 1967-68. (p 154)
Chapter 6: The Death of the Object: The Move to Conceptualism
1. Modernist abstraction had reached an impasse in the mid-1960s and Buren was one of many artists who felt that the entire 'framing' or institutional conditions for avant-garde art needed to be redefined. (p 161)
2. Buren felt Modernist art is defined by context. (p 161)
3. Daniel Buren created "Untitled" in 1968. He used stripe motifs in a public context. (p 162)
4. Isidore Isou promoted radicalism in Art. (p 162)
5. Isou had a movement called "Lettrism." (p 162)
6. This group was close to Dada. (p 162)
7. Lettrism is seen as counter cultural provocation, a bridge between Dada and the youth cults of the 1960s and 1970s. (p 162)
8. Lettrism is linked to another French movement called Nouveau Reaslisme because it attacks language. (p 162)
9. Raymond Hains and Jacques de Villegle developed "decollage." (p 162)
10. Decollage is tearing sections from compacted layers of posters or billboard advertisements to bring about collisions of imagery and lettering. (p 163)
11. Asper John created "La Canard Inquietant, from Modifications Series," in 1959. (p 163)
12. Situationist International was group that integrated aesthetics and politics. (p 163)
13. The group was founded in 1967. (p 163)
14. Guy Debord was the main theorist of the group. (p 163)
15. Debord felt that everyday life needed to be interrogated as rigorously as class relations. (p 163)
16. Debord published a book called "The Society of the Spectacle." In that book he discussed the myths of social freedom. (p 163)
17. Situationists devised two strategies:
-Device (drift)
-Detournement (Diversion)
18. Derive means maybe mapping alternative routes through the city in accordance with their desires rather than civic prescriptions. (p 163)
19. Surrealists called this 'objective chance.' (p 164)
20. Detournment means rearrangement and derailing of existing routines and sign-systems. (p 164)
21. Giuseppe Pinot-Gallizio hijacked the principle of the production line to create 'industrial paintings' by the yard. (p 164)
22. Asper John created modifications consisted of scrawled interventions on banal second-hand oil paintings. (p 164)
23. Marcel Broodthaers was based in Belgium and was poet. (p 165)
24. Broodthaers believed in the Marxist notion of 'reification' was art's defining principle. (p 165)
25. Reification means the illusory sense that social relations or values are immutable, which extends to capitalism's implantation of abstract values in material goods. (p 165)
26. Broodthaers created a fictitious museum as a project from 1968-1972. The objects in the museum were accompanied by signs asserting "This is not a work of art." The declarations implied that museums obscure the ideological functioning of images via the imposition of spurious value judgements or taxonomies. (p 165)
27. Hans Haacke was a German born artist. (p 166)
28. Italian Artist Michelangelo Pistoletto produced large, polished stainless-steel sheets which incorporated the reflections of spectators within partially filled-in painted scenarios. The Vietnam of 1965 inserts viewers between demonstrators carrying an anti-war banner. (p 169)
29. Germano Celant, critic, named this art as 'Arte Povera.' (p 170)
30. It is important, however, to see Arte Povera as reflecting a set of specifically Italian circumstances. (p 170)
31. Robert Smithson an American Minimalist created "Spiral Jetty" in 1970. (p 172)
32. The artwork was a crew of workmen with trucks and they extended a strip of the mainland into the lake's pinkish water forming a spiral. (p 172)
33. Walter De Maria's "Vertical Earth Kilometer" typifies a conviction, pervasive by the mid-1970s, that thought was as much an artistic material as any other. (p 177)
34. Theory about art could in itself be considered art. (p 179)
35. Victor Burgin in particular saw photography as a means to a more productive social engagement. (p 179)
36. Burgin was aided in this theory by the French writer Roalnd Barthes's "Elements of Semiology," published in English in 1967. (p 179)
37. Barthes's contribution to literary theory had partly consisted in adapting the findings of the Swiss linguist Ferdinand de Saussuve whereby, in language, the relation between 'signifier' (word or utterance) and 'signified' (the thing to which it refers) is shown to be fundamentally arbitrary. (p 179-180)
38. "Fine Art" productions were no more worthy of analysis than other cultural artifacts. (p 181)
39. Bruce McLean and several friends presented themselves as "Nice Style," the "World's First Pose Band." The group was dedicated to parodying the posing of rock stars. (p 194)
Chapter 7: Postmodernism: Theory and Practice in the 1980s
1. Charles Jencks, British architect, said "that modern architecture had died in St. Louis, Missouri, on 15 July 1972 at 3:32pm, when much of the notorious Pruitt Igoe housing scheme was dynamited. (p 198)
2. Jean-Francois Lyotard, French Philosopher, wrote a book called "The Postmodern Condition" in 1979. He said in his book that "the grand narratives that had informed Western societies since the Enlightenment (in other words since the eighteenth century, when European philosophers such as Kant and Rousseau had laid the intellectual foundations for modernism) could no longer sustain credibility. (p 198)
3. Lyotard believed that "these abstract systems of thought, by which social institutions validated themselves, were infused with ideals of 'social perfectibility' or 'progress.' (p 198)
4. German Philosopher, Jurgen Habermas, believed that "art, science, and morality had to remain as specialized 'narratives' while last-ditch efforts were made to create bridges between them. (p 199)
5. Frederic Jameson, American Literacy Critic, wrote "Postmodernism, or the Cultural Logic of Late Capitalism." He argued that culture's destiny was inextricably bound to capitalism. (p 199)
6. Jameson believed that technologies of reproduction (such as television) had replaced technologies of production. (p 199)
7. American Artist, Cindy Sherman, created "Untitled Film Stills" in 1977. (p 200)
8. Sigmar Polke created "This Is How You Sit Correctly (after Goya)" in 1982. (p 202)
9. Jameson believed "that postmodern sensibility was itself often experienced as a form of elation or euphoria, and his related notion of a 'postmodern sublime' will be dealt with in due course. (p 203)
10. Art in the 1980s fell into two camps:
a) Those who were content to surrender to the 'free play of the signifier.'
b) Those who wanted to reassess modernism
11. Those who wanted to reassess modernism used Duchampion, Situationist, or Conceptualist Strategies. (p 203)
12. Painting first demands consideration. (p 203)
13. Robert Crumb was an underground comic-book artist. (p 204)
14. Leon Golub created "Mercenaries and Interrogations" in 1982. (p 204)
15. Francesco Clemente, Italian Painter, created excellent pieces that rivaled Leon Golub. (p 205)
16. Famous German Artist in the 1980s: Georg Baselitz, Marcus Lupertz, Anselm Kiefer (p 206)
17. Kiefer created "Shulamite" in 1983 which its title derives from a poem by an ex-concentration-camp internee. (p 206)
18. Jasper Johns's painting "False Start" created in 1959 set a record for a living artist in 1988 when it fetched $17.1 million. (p 206)
19. In 1986, Michael Werner, Cologne, West Germany Art Dealer, married Mary Boone, a New York Art Dealer. (p 207)
20. Michael Werner helped establish German Neo-Expressionists artists like Baselitz and Lupertz. (p 207)
21. Julian Schnabel, American Painter (p 208)
22. One Italian artists came to prominence in Italy in the 1980s. His name was Sandro Chia and he created "Transavanguardia." (p 208)
23. Most or all of Schnable work was owned by Charles and Maurice Saatchi. They were the owners of a global advertising agency called Saatchi and Saatchi. They were famous for bulk buying artists works in the 1980s. (p 208)
24. Hans Haacke created "Taking Stock (unfinished)" in 1983-1984. (p 208)
25. In 1976 the critics Rosalind Krauss and Annette Michelson had founded a magazine whose title, October, invoked the militancy of the Russian avant-garde after the 1917 revolution. (p 208)
26. By the early 1980s younger critics such as Craig Owens and Hal Foster had gravitated towards October and were arguing for an art that was strategically 'deconstructive' rather than symptomatically 'post-modern,' like the new painting. (p 210)
27. Jenny Holzner, American artist, specialized in inserting highly ambiguous printed statements into the public domain. (p 210)
28. Jenny Holzzner created "Abuse of Power Comes as No Surprise" in 1983. (p 210)
29. Malcolm Morley, British born Painter, created "SS Amsterdam in Front of Rotterdam" in 1966. He pioneered a form of 'photorealism.' (p 213)
30. As photorealism became fashionable, Morley grew frustrated with his seamless surfaces. He created "The Ultimate Anxiety" in 1978. (p 213)
31. Eric Fischl, American Artist, created "The Old Man's Boat and the Old Man's Dog" in 1982. It was similar to Theodore Gericault's famous painting "Raft of the Medusa" in 1819, which was a reference to early 19th century French government corruption. (p214)
32. Gerhard Richter, German Painter, created "October 18, 1977" in 1988 which mimic the appearance of blurred black and white photographs. (p 215)
33. Richter was align to American Artist Vija Celmins. (p 215)
34. Vija Celmins was a Latvian-born artist. (p 215)
35. Paintings were once a 'container' for public conscience. Then paintings became replete with photography, a technology often employed to collapse critical 'distance.' (p 216)
36. Jimmie Durham is a Cherokee Indian artist. (p 222)
37. Lorna Simpson was a female African American artist created "Guarded Conditions" in 1989. (p 223)
38. Peter Halley, a painter, readjusted formal devices from Modernist abstractions to reveal latent technocratic metaphors. (p 223)
39. Halley theorize the tendency perceived of distractions between 'reality' and 'simulation' as intrinsic to the market-led world of late capitalism. (p 223)
40. As theorized by the French writer Julia Kristeva, 'abjection' covers both an action, of objecting, by which primordial experiences of the separation of inside and outside, or self and other, are re-experienced via bodily expulsions, and a wretched condition, that of being abject. (p 225)
41. Helen Chadwick, British Artist, created "Oval Court" and "Loop My Loop." (p 228)
Chapter 8: Into the 1990s
1. Jeff Wall, Canadian Artist, created "Dead Troops Talk." (p 233)
2. Ilya Kabakov is a Russian Artist from Moscow. She created "The Toilet," which reflected how collectivism in Russia was giving away to privatization and on the dislocations of 'public' and 'private' involved for ordinary people. (p 233)
3. Zofia Kulik, Polish artist, created "From the Columns Series: Right Sword, Left Garland" in 1992. (p 236)
4. The fact was that much politically motivated art of the 1980s shown in 'artist-run' venues supported by the NEA was actually seen by audiences who, far from having their assumptions 'disrupted,' as the critical rhetoric claimed, were already committed 'non-conformists.' (p 237)
5. By the mid-1990s there was a gradual withdrawal of US government arts support and a shift from public to private sector sponsorship. (p 237)
6. In Britain they created a national lottery in 1993 to offset the cost and for public funds to support the visual arts. (p 237)
7. Famous British Artist of the 1980s: Damien Hirst, Karsten Schubert, Jay Jopling, Sarah Lucas, Anya Gallaccio, Mat Collishaw, Gary Hume (p 238)
8. Young British Artist Banner Known as 'YBa.' (p 238)
9. Sophie Calle wrote "Double Game" in 1999 then reenacted the characters movements in Venice in real life. (p 240)
10. Yinka Shonibare, British Artist born in UK but brought up in Nigeria created "How Does a Girl Like You Get To Be A Girl Like You?" in 1997. (p 242)
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