| Term 
 | Definition 
 
        | - Robert Rauschenberg - White Paintings
 - 1951
 - Proceeds Minimalism
 - Equivalent to Cages 4'33
 - Allows your mind to wonder and to notics the surroundings
 - greenbergian formalism
 canvases are filled with light
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - alberto burri - 1953
 Composition
 Mode of Production:
 - made of burlap sacks, suturing cloth is reminiscent of his own war experience
 style:
 - almost like a collage, incorporates our world into the piece art and the everyday
 Movement: post war abstraction
 - doctor during the war, captured in a political camp where he took up paintings
 - puts his own experiences into his art
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Allan McCollum - perfect vehicles
 - 1985-89
 - 50 vases, simple, different colours- shape imitates chinese funeral urns
 - minimalistic, making fun of the repetition of it
 - people will pay for even the allusion of variation
 - commentary on the ridiculousness of consumerism
 - aesthetics of consumerism, united states
 - simulation
 -
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Peter Halley - Asynchronous Terminal
 - 1989
 - acrylic on canvas
 - talked about painting in direct relation to social life
 - neo geo
 - - a return to geometric abstraction
 -- abstraction and purity is totally wrong and led to a greater depersonalization of the world
 - talked about geometry in social confinement the depressing side of what utopia could be
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Allan Kaprow - 18 happenings in 6 parts
 - 1959
 -consisted of 18 individual happenings (emphasis on action, actors play themselves, wanted to reintegrate art into life and the viewer into art)
 - took place in a gallery
 - participants given a program sheet and 3 small cards with instructions
 - could only get a partial experience from it
 - performance began with a bell and ended with 2
 - left the viewers to assemble what they wanted to take away from it in their own minds
 - told them there was no meaning- FRUSTRATING
 - assemblage
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - James Rosenquist - 1964-65
 
 - oanoramic, an 18th/19th century tradition
 - uses an aluminum piece as a fragment of the real world
 - collage without collaging anything, just hte clashing of pictures and imagery
 - pop art - america
 - art and the everyday
 - 60s = vietnam, jfk and huge social issues
 - elebration of technology
 jet planes make the world go faster
 - overwhelms the viewer
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Claes Oldenburg - The Store
 1961
 - plaster and enamel
 - used hired hands to put it together
 - minimalits but approaching performance art
 - installation art
 - uses an actual store front
 - mocks american impulse for size and power
 - transposition
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Willem de Kooning - Woman I
 - 1950-52
 -oil on canvas,
 - complete abstraction and figuration
 - art brut and l'informe
 - directly following the war artists are trying to get as far away from the norms of a corrupt world as
 - all over canvas, the ground leeks into the fie
 - mirroring of Picassos Les Demoiselles de Avignon
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | -Twin Tub with Guitar - Bill Woodrow
 - 1981
 - carved a guitar out of an old washing machine
 - early 80s in britain they were seeing a lot of consumerism and wealth but feeling a lot of poverty
 - aesthetics of consumptioin
 - tension between production consumpting and making of the guitar and how it'll be absorbed into the market
 - a washing machine is something that is very available
 - shows the amount of waste due to surplus
 - british artists use only materials they can find
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Anthony Caro - Early One Morning
 - 1962
 - relationable, structured like a sentence - seperate elements coming together to form a whole sculpture
 - single plane is very simple
 - all about human passions
 - optical effect
 - syntax allows for the release of gesture
 - minimalism
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Merde d'Artista - Piero Manzoni
 - 1961
 - cans his own shit, once he puts his signature on it it become s art
 - making fun of the art world
 - places the artist as a god like creature
 - the zero group
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Yves Klein Monochrome blue
 -1961
 - nouveau realism
 - patented the colour and the process of making it
 - he was simply unhappy with the classic ultra marine
 - represents spirit and boundlessness of space
 - a very spiritual man
 - poking fun at society and the art market - puts a bunch of the same canavses on different walls and charges different amounts for them
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | sigmar polke - bunnie
 - 1966
 - German Pop art
 - deliberatley made to look second rate because thats how they economically felt
 - cultural standards are much lower in germany
 - they were feeling their own economic deficits with americas prosperity under their noses
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - bruce Nauman - Neon Templates of the Half of my body taken at ten inch intervals
 - 1966
 - Neon lights
 - similar to judd's pieces in simplicity
 - looks very abstract
 - post minimalist
 - experience and the body
 - it is physically about the body and the art work
 - references the artist by putting the focus on him as part of the piece
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Ad Reinhardt - Abstract Painting
 - 1960
 Horizontal and vertical stripe, black on black
 - composition made almost entirely by a brush
 - not at all gestural
 - art for arts sake
 - clement Greenberg occupied this period
 - post painterly abstraction
 - greenberg didnt like it, the sininess of the paint was too much for the painting and said he had taken his theories to the extreme
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Jasper Johns - Painted Bronze (Ale Cans)
 - makes you connect life to art
 - neo dada
 - 1960
 - takes cans and casts them from bronze
 - bronze used to make something very ordinary
 - goes through a traditional process to make something that isnt, but looks like a ready made
 - transposition?
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | Carle Andre - Lead Piece
 - 1969
 - layed 144 pieces of led on the ground
 - anazial symmetry - one part can replace another
 - a sculpture which approaches environment
 minimalism
 - piece cuts into you space and you must walk on it to get the full experience
 - all about experience
 - repetition
 - andre eventually makes the leap into land art
 - in the 60s theyre challending the idaels of sculpture, changing things around and putting them into your personal space
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - Jean Fautrier - Tete D'Otage no.20
 - 1944
 - lots of texturing in the piece
 - filled with anger and torture, head of a hostage
 - during the war he could hear sounds of torture through the woods and put the pain into his paintings
 - post war abstraction
 - held by the gustapa
 - ripped apart by anger and frustration
 - a materiality which hadnt been since the impressionist
 - trying to break down the traditions which preceeded him
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | Francis Bacon - portrait of pope innocent X
 - 1953
 - stems from the realist tradition
 - takes a traditional painting from the 1650s and abstracts it
 - uses shadows and refractive forms
 - everything is being pulled away fromt eh canvas
 - destroys it with brushwork violently
 - post war abstraction
 - artist portrays himself as the crazy guy
 - fascinated with the image of a dictator
 - questionable if he's just doing it to shock people
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | - JASPER JOHNS - Flag
 - 1955
 - american flag put into the art realm
 - by micing pigments with hot wax it makes the flag look like something new even though its a very familiar object
 - not a reproduction because he has taken the flag and made it completely his own
 - neo dada
 - art and the everyday
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ROY LICHTENSTEIN - Brush strokes
 - 1967
 - hand painted ben dae dots, worked very hard to make it look mass produced
 - pop art version of abstract expressionism
 - very flat, almost fulfilling greenbergs desires
 - very gesturals
 POP ART
 - all over composition
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | BEN VAUTIER - A walk into the sea
 - 1963
 - something so subtle you wouldn't know he is performing
 AN EVENT
 -happenings
 - didnt make a scene about it, casually walked into the sea
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | CLAES OLDENBERG - bedroom ensemble
 - 1963
 - reconstructs a bedroom set on a different scale
 - treump d'oeil - if you look at it from the front it looks like a proper room but if you shift to the side everything is out of scale
 - - renaissance tradition
 - pop environment
 - part of a series of domestic items
 - appears very flat, a greenberg ideal with a pollock on the wall, someone who greenberg hated
 - mocking the modern man
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | DAN GRAHAM - performer/audience/mirror
 - 1975
 - put a mirror infront of the audience to make it more awkward
 -- almost an invasion of privacy makes you self conscious of what youre doing
 - begins with describing himself and his movements and then moves onto the audience
 - the piece is almost as much about whats happening in the audience as what hes doing
 - he assumes the position of the sculpture
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | DAVID SMITH - hudson river landscape
 - 1951
 - large stainless steel sculpture
 - planar, 2 dimensional
 - gestural and abstract
 - minimalism
 - the base seperates it from our space
 - something you would walk up to not walk around
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | DONALD JUDD - 1969
 - boxes on the wall, no base
 - pieces are factory made according to the artists design
 - minimalist
 - the svulpture is no longer important its the relationship you make with it
 - why does sculpture have to reference anything
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | MEL RAMOS - manets olympia
 - 1973
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | LUCIO FONTANA - Concetto Spaziale
 - 1950
 - sliced holes in the canvas and called it a special concept
 - doesnt care about the medium
 - post war, wanting to transcend the physical world into a metaphysical realm
 - interested in how space is expressed
 - wanted to create art where our idea of art could not intervene
 - lighting is part of the canvas
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | Lucio Fontana - Strutture al neon
 - 1951
 - creates a spacial environment
 - environments are radical for this time period
 - post war
 - a conceptual area where light and space come together to create art
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | HELEN FRANKENTHALER - Canal
 -1963
 - acrylic on canvas - first to use acrylic paint which is a huge step
 - stained the canvas
 - canvas shows around the edges making it part of the painting
 - acrylic mixes easily and dries much faster
 - championed by greenberg
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ARSHILE GORKY - The liver is the cocks comb
 - 1944
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | EVA HESSE - untitles (wall piece)
 - 1970
 - required a lot of assistance making it
 - done while she is in a mental hospital
 - mentally troubled mother commited suicide -- a lot of emphasis on her biography
 - about the process gone through to make it
 - minimalist, takes up space
 = process art
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | FRANK STELLA -raise the flag
 - 1959
 - lines cut out of the canvas
 - trying to get rid of everything that is extra art
 - minimalism
 - reductionism
 - subject of this painting is its pysical dimensions
 - stella is interested in the internal logic of painting
 - art for arts sake
 - references politics in the title
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | JEFF KOONS - rabbit
 - 1968
 - blown up balloon which he has coated in metal
 - metal gives it a sense of permanence
 - object is altered slightly, but it is still a ready made
 - aesthetics of comsumption in america
 - cynical icon for the rich who constitute his market
 - attracts consumers with shininess - mockery
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | KATHARINA FRISCH - madonna of lourdes
 - 1987
 - sculpture painted a bright tack yellow and placed in a random spot which doesn't fit its subtext
 - kitsch - greenberg hated it
 - germany
 - aesthetics of consumption
 - makes us reference a religious yet played out figure as tacky
 - makes you question the role of the image and its contect
 - kitsch vs. high art monument
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ELLSWORTH KELLY - red blue green
 - 1962
 - colour field painting
 - works on constructing and deconstructing what is visible to the eye
 - minimalism
 - post painterly abstraction
 - emphasizes colour form, the canvas and flatness
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ED KEINHOLZ - portable war memorial
 - 1968
 - reproduction of famous photofraphs in sculpture
 - pop environment
 - political unrest at this time, kleinholz is upset with the way soiety is working
 - implications of war
 - joe rosenthal's photo turned into something much less triumphant
 - empty special board
 - shows a broken down society
 - how to make a monument post war
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | LUCIANO FABRO - golden italy
 - 1971
 - model of italy coated in gold and flipped upside down, tied by a knot around its toe
 - social commentary
 - negative style
 - arte provera
 - gold, which is supposed to be glorified is falling apart much like italy
 - all the wealth is concentrated in the north, lots of inequality throughout the country
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | WALTER DE MARIA - lightning field
 -1971-77
 - going for ideals
 - wide open space defined by one pole
 - the sublime
 - shrinks man into the insignificant
 - traditional
 - huge scale involving the viewer
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | CLAES OLDENBURG - lipstick on caterpillar tracks
 - 1969
 - began as an inflatable tube, had to be changed because of vandalism and innapropriate imagery
 - conceptual installation art
 - unsolicited gift to yale
 - iconic
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | PIERO MANZONI - living sculpture
 - 1959 - 62
 - signed the body, making it a piece of art
 - a red stamp meant the whole thing was are and a yellow meant only on body part is
 - signed both men and women making them living sculptures
 - nouveau realism
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | JEAN DUBUFFET - Paulhan
 - 1946
 - art brut, interested in the untrained/unstable mind
 - trying to get as far away from a corrupt society as possible by focusing on minds which he considered to be pure
 - post war abstraction
 - l'informe
 - believed that material had expressive power
 - he wanted to go back to origins of art (cave paintings)
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ALBERTO GIACOMETTI - man pointing
 - 1948
 - made of bronze
 - large sculpture, skinny man on a huge base (referencing important people)
 - surrealism
 - figure is fading and dissapearing
 - anxiety caused by WWII coming through in his work
 - tall thin and way different from Moore's relaxed figures
 - interested in the perception of people at a distance
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | BARNETT NEWMAN - onement I
 -1948
 - primal creativity, very basic
 - references biblical things like genisis
 - far from commercial art as it wipes out the problem of composition
 - spiritual art practise
 - in search of answers and something to believe in
 - the importance of atonement
 - metaphysical
 zep is genisis
 abstract expressionism
 - artist isnt interested in form
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | Jannis Kounellis - Untitled (12 horses)
 - 1969
 - place horses in a gallery where he would have put the art work
 - arte provera
 - horses move around and poop
 - sense of impermanence like process art as everything is constantly changing
 - fills the gallery with nature, art provera places the artists as mediators between art and nature
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | MARIO MERZ - giap igloo
 - 1968
 - little bags filled with sand lined with metal tubes, he used materials that anyone could find
 - big enough to live in
 - natural elements meet urban ones
 - nomadic traditions made up his alter ego
 - pulls politics into the piece
 - igloo links it to culture
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ANDY WARHOL - electric chair
 - 1964
 - print made in his factory
 - pop art
 - associations with the red panel it is usually shown with makes it powerful
 - trauma
 - the more you look at the same thing the quicker the meaning goes away and the better and emptier you feel
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | JACKSON POLLOCK - number one
 - 1948
 - drips paint randomly and rhythmically onto a canvas
 - little bits of the world like newspaper bits hair and cigarettes have fallen into the piece tieing it into our everyday world
 - takes an image personal to him and abstracts from it
 surrealism meets total abstraction
 - critics hated him
 - biography is very important to his work
 - abstract expressionism
 - all over composition
 - artist is central
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ROBERT RAUSCHENBERG - bed
 - 1955
 - painted it onto a literal bed
 - neo dada
 - trying to present rather than explain the real world
 - reached against the techniques and cliches of abstract expressionism but did not incorporate it into his style
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ROBERT RAUSCHENBERG - monogram
 - 1955-59
 - neo dada
 - a free standing object which has mixed both painting and sculpture
 - references the wealthy people who have monograms
 - platform made of a collage
 - can be viewed from all sides but never all at once, you can never get the full experience
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | EDUARDO PAOLOZZI - real gold
 - 1950
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | RUNNING FENCE - Christo and Jeanne Claude
 - 1976
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | GERHARD RICHTER - uncle rudi
 - 1965
 - photo as a ready made
 - makes the memory look as though its fading
 - transpostition
 - german pop art
 - made it to look faded and out of focus
 - memories are fleeting and even photos dont last forever
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | RICHARD LONG - a line made by walking
 - 1967
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ED RUSHA - 26 gasoline stations
 - 1963
 - screen print
 - a book of all the gas stations he passed on the trip he discovered his artistic identity
 - pop art
 - making fun of consumption and all the gas station
 - dead pan humor
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | RICHARD SERRA - splashing
 - 1968
 - threw hot led at a wall
 - performance art
 - sense of impermanence, led falls off the wall and breaks after a certain amount of time
 - he believed each piece of art had to be made specifically for a certain area
 - his works are never finished
 - piece is centered around time and the viewer
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | HENRY MOORE - the recumbent figure
 - 1938
 - stone, a traditional material for england because it references the landscape
 - biomorphism, resembles a living thing and could be biological
 - during the war and trying to break away from previous styles
 - surrealism
 - shift in focus nto a discontinuation form before
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | RICHARD SERRA - casting
 - 1969
 - repetition, minimalist
 - similar to judd's untitled
 - piece is more permanent
 - process art
 - moves to performance art
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | PATRICK CAULFIELD - after delacroix
 - 1963
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | TONNY CRAGG - britain seen from the north
 - 1981
 - takes trash from the streets and configures it into a shape
 - aesthetics of consumption - britain
 - north was heavily affected with the closing of the coal mines and there was lots of unemployment
 - made the country out of consumer items that people had thrown away
 - fragmented like the country had become
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | MICHELANGELO PISTOLETTO - venus of the rags
 - 1967
 - makes a reproduction of the venus d'milo out of plaster and covers her with rags and garbage
 - insult to the world which man has created
 - arte provera
 - shows how little people value life
 - the ideal fimale figure surrounded by mounds of trash and pieces of fashion that had once been flamorous
 - italy is supposed to be the fashion icon of the world
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ROY LICHTENSTEIN - whaam!
 - 1963
 - reproduction of comic books
 - transposition, looks really close to the original but its a new version
 - drew on commercial imagery
 - pop art
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ANDY WARHOL - Brillo box
 - 1964
 - transposition of object
 - makes a minimalist box
 - pop art
 - comes before minimalism
 - multiple displayed at one time, consumerism
 - makes us reference a simple everyday object in an artistic way
 - warhol is very interested in the commercial aspects of the world
 - frustrating for the critics
 - how do you define art? does this fit?
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | ROBERT MORRIES - untitles (three L beams)
 - 1965
 - composition is very important to this work
 - interest in the spectator, the viewer much walk around the piece
 - minimalism
 - he made theatre pieces before he made sculptures
 - greenberg hated minimalism for its theatricality
 - viewer is very important to both pieces
 |  | 
        |  | 
        
        | Term 
 | Definition 
 
        | YVES KLEIN - anthropometry
 - 1960
 - had people coat themselves in paint and lie down on the canvas
 - similar look to cave paintings
 - performed in 1960 with him announcing what the artists should do but never touched them, accompanied by his monotoned symphony
 - parody of his alter ego
 |  | 
        |  |