2400 Test 1

Question 1

Answer 1

Laylah Ali

Gouache (= opaque watercolor) on paper. 13” x 19” Simple figurative abstraction can appear innocuous at first glance, then darker as one reads the image. US race history (& other abuse issues) subtext in much of work by African American artist

Question 2

Answer 2

Laylah Ali

Artist’s Book (created for Project 75, Museum of Modern Art) 2002.

Question 3

Answer 3

Tina Barney

"Marina and Peter"
 Chronicles WASP culture, NYC. Is one in a series of portraits of father/daughter various ages; same locale. 10 years after a less grim shot of same father/child/room color photo. Narrative. Upper middle class US characters in their natural habitats.

Question 4

Answer 4

Tina Barney

“Marina’s Room” Photographer as a kind of anthropologist, documenting her upper middle class “tribe”. Psychological portraiture. As a series of these 2 characters, forms a narrative. 1987

Question 5

Answer 5

Christian Boltanski

“Theatre d’Ombres” Installation w/ puppets (wood, cardboard, etc) w/ slide projection & fan. Light as alternative medium.
Kinetic art.

Question 6

Answer 6

Christian Boltanski

"Personnes"
 Temporary installation (w/ found object clothing) at Grand Palais (Paris), from series that recalls the Holocaust (when personal effects of victims left en route to their deaths). 2010

Question 7

Answer 7

Johathan Borofsky

“Two Self Portraits”
Site-specific, temporary installation. Sculptor known for his mixed media drawings

Question 8

Answer 8

Jonathan Borofsky

“Hammering Men”
Kinetic. Steel. What does it mean to be a worker? a man? He labels every piece of art created w/ a number. 1982

Question 9

Answer 9

Vija Celmins

“Night Sky” Charcoal on paper, 17 x 22 in. Illusionism. 1996

Question 10

Answer 10

Vija Celmins

(Big Sea #1)
Graphite and acrylic ground/paper
34x35”
Meticulous mark-making mimics photographic reality

Question 11

Answer 11

Christo/Jeanne Claude

Study, “Over the River” project
Proposal to drape 40 mis. of Arkansas River, Colorado in 2013-14. Drawings used by artists to advocate to various private & govt. entities seeking permission to proceed with plans; sale of such studies have supported their large-scale, site specific installations.

Question 12

Answer 12

Christo/Jeanne Claude

“Wrapped Reichstag” (Parliament Bldg, Berlin) Early installation project by couple, 1971 - 1995 Polypropylene fabric with aluminum surface and blue polypropylene rope

Question 13

Answer 13

Walter DeMaria

“The Lightning Field”
Stainless steel poles over 1 mi x 3300 ft expanse. New Mexico (ongoing) installation. Could fall loosely into Earthwork (or Land Art) category in use of natural elements (& in playing on grandiose scale.) Lightning, landscape considered as part of media and process. Resists notion of art as commodity. 1971-77

Question 14

Answer 14

Walton Ford

“Fallen Bough” Known for his draughtsmanship, his meticulous large scale
watercolor/ gouache /ink/ pencil
Laments extinction of the Passenger Pigeon. James Audubon a major influence.

Question 15

Answer 15

Walton Ford

“Thanh Hoang”
Watercolor, gouache, pencil, and ink on paper, 60.5 x 119.5”

Question 16

Answer 16

Robert Gober

Wax/wood/oil/hair. Example of fragmentation in contemporary artists’ treatment of The Body.
Humor an aspect in most of his work.
1990

Question 17

Answer 17

Robert Gober

Beeswax, pigment, and (an alternative material) human hair. Fragmentation of the body/ anti-heroicism/ questioning gender and identity: all trends in contemporary art’s consideration of The Body. 1990

Question 18

Answer 18

Nan Goldin

“Ric at a Restaurant”
Her body of work documents of a slice of society, many of subjects part of her circle. Cibachrome 30”x40”

Question 19

Answer 19

Nan Goldin

“Nan, One Month After Being Battered” Cibachrome photo, Self-portrait with title providing narrative. Chronicled the lives of herself and friends. 30x40” 1984

Question 20

Answer 20

Michael Heizer

“Double Negative” Mormon Mesa, NV. Land art. Alternative tools: earthmovers, etc. 2 removals of earth, 240,000 tons each. (aerial view) 1969-70

Question 21

Answer 21

Michael Heizer

“Double Negative” Mormon Mesa, NV. Land art. Artist working on heroic scale 1969-70

Question 22

Answer 22

Jenny Holzer

From the “Truisms” series, “For New York City”. Known for use of text viewer encounters unexpectedly (here, on facade of Cathedral of St John the Divine, NYC. Installation art moved out of the gallery to the street. Use of commercial forms: LED (light-emitting diodes)

Question 23

Answer 23

Jenny Holzer

from “Truisms” series, electronic sign, temporary installation, Times Square, New York. Known for evocative use of text open to interpretation

Question 24

Answer 24

Barbara Kruger

“Your Body Is A Battleground”
Artist was influenced by and has herself influenced contemporary graphic design. Site-specific installation using commercial processes e.g. adhesives. Text usually part of her work (as is the black/white/red palette).

Question 25

Answer 25

Maya Lin Installation, Wood. Example of pattern. Artist lst came to prominence when, as a young Yale student, won the competition to design Vietnam War Memorial in Washington DC. Controversial design eventually embraced by vets & rest of public. 2006

Question 26

Answer 26

Maya Lin Artist with dual career in Sculpture and Architecture. Temporary installation, example of sculpture moving off the pedestal (to change viewer's experience of a space) and away from notion of art as commodity

Question 27

Answer 27

Robert Mapplethorpe "Thomas" (Staged) photo. Influenced by classical notions of beauty, and by classical art itself: visual quote of Myron's "Discobolus" ( "The Discus Thrower"). Influential 80's gay artist lauding the male form

Question 28

Answer 28

Robert Mapplethorpe "Self Portrait with Knife" Artist as actor in a narrative. Gelatin silver print, 16 x 20"

Question 29

Answer 29

Mary Ellen Mark "Amanda and her Cousin Amy, Valdese, NC" black/white photo. Artist as witness chronicling her time, spotlighting social issues and various disadvantaged members of society. Formal design concerns of photographer in addition to documentary interests evident in this piece. 1990

Question 30

Answer 30

Mary Ellen Mark "Mary Frances in Ward 81, Oregon State Hospital" black/white photo. From "The Confinement" series (portraits of the institutionalized, especially women) Narrative implied by family portrait on the dresser.

Question 31

Answer 31

Paul McCarthy "Blockhead" Inflatable architectural form. Loosely based on Pinocchio but grotesque...At Tate, opening in base leading to candy shop (specially made items as part of the piece.) His black object becomes "a hole in the landscape". 2003

Question 32

Answer 32

Paul McCarthy "Wooden Boxhead" Clay, Plaster, Wood. Macquette (a study, or model) This particular maquette was used to created a larger inflatable sculpture. Postmodern artist (attended U of U) appropriating pop (Disney) image. 33x24x45” 2001

Question 33

Answer 33

Takashi Murakami acrylic on canvas on board, Figurative abstraction, influenced by anime and other popular forms, 118 x 177". 1996

Question 34

Answer 34

Takashi Murakami Installation, Brooklyn Museum, including sculpture & paintings. Aesthetic influenced by popular (consumer) culture. Japanese artist

Question 35

Answer 35

Yoshitomo Nara "Dogs From Your Childhood" Installation. Visual metaphor (appears childlike and harmless at lst glance). Figurative abstraction. Fiberglass/wood/fabric/acrylic paint. Each dog 183x152x102cm Japanese artist. 1999

Question 36

Answer 36

Yoshitomo Nara "Just Living in a 2D World", acrylic on canvas, 57 x 70-3/4" 1999. We've talked about artists working in series. Note how same form used in 2d and 3d works.

Question 37

Answer 37

Raymond Pettibon Site-specific installation (painted directly on gallery wall.) California surfer culture one influence on his work. Figurative abstraction

Question 38

Answer 38

Raymond Pettibon "Black Flag: Six Pack" Offset-printed record sleeve with vinyl record. Example of an artist drawing from “street culture” (Brother was a member of the band Black Flag) 7x7” 1981

Question 39

Answer 39

Edward Ruscha "Those of Us Who Have Double Parked" Pastel/paper. California artist frequently uses text (apparently nonsense phrases open to interpretation. May suggest narrative to some viewers). Mines popular culture (including advertising). Rethought what constitutes drawing. Surfaces can be quite rich. Example of illusionism (in suggestion of overhead light shining on ground.)

Question 40

Answer 40

Edward Ruscha "Whiskers" Gunpowder (alternative material) with pastel on paper. Example of illusion of depth on 2d surface. 11x29" 1972

Question 41

Answer 41

Cindy Sherman "Film Still No. 21" gelatin silver print photo. 8 x 10" Artist adopts various personae in setting up her photos, serving as director, actor, photographer. (This series drew on influence from mid-century film publicity shots.)

Question 42

Answer 42

Cindy Sherman (two separate staged pieces) Her work crosses boundaries between photo and performance art & play with notions of fluidity of identity, personality, time. (Influences include art history, theatre, gender studies, etc.) 1990.

Question 43

Answer 43

Kiki Smith "Untitled (male)" Wax 70” h Anti-heroic view of subject, a notable trend in contemp. figure work. Psychological import

Question 44

Answer 44

Kiki Smith "Untitled (female)" One of pair of beeswax and microcrystalline wax figures on metal stands, 64-1/2" h. 1990

Question 45

Answer 45

Robert Smithson "Spiral Jetty". Site-specific, in Great Salt Lake. Early and very influential earthwork/ land art. Artist playing on larger stage than museum/ gallery allows. Considered major piece in contemporary art. Basalt, salt crystal, etc. Spiral is 1500' long. 1969-70

Question 46

Answer 46

Mike/Doug Starn "Big Bambu" Temp. installation, roof of Metropolitan Museum of Art, NYC. Alternative materials. Climbers hired to construct piece out of bamboo poles & colored nylon cord. Twins share creation and credit for all their work. 2010

Question 47

Answer 47

Mike/Doug Starn "Attracted to Light Double A" (from a series of insect studies). Toned silver print on Thai Mulberry paper. 115 x 117.5". Twins collaborate on mixed-media, photo-based works which frequently feature broken picture planes & casually experimental approach to surface & materials

Question 48

Answer 48

Mark Tansey "Action Painting" Oil/canvas. Visual humor and retro sources typify his work. Frequently monochromatic (as in this image.) 1981

Question 49

Answer 49

James Turrell "Roden Crater" view of E. portal entryway to crater. Artist as architect. Use of light, including moonlight. Says he gathers in "starlight 3.5 billion years old" as one of his materials.

Question 50

Answer 50

James Turrell "Roden Crater", SW view of cinder cone volcano nr. Sedona NM. '00 Land Art crossing into architecture. Pristine interior spaces within crater (lit by day-and starlight) being developed by construction crews working w/ artist over decades. Artist working on a heroic scale

Question 51

Answer 51

Kara Walker "Darkytown Rebellion" Site-specific installation. Cut paper and projected imagery on wall. African American artist uses traditionally "sweet" folk art form of silhouette to tackle history of slavery/race. 115x43 cm, 2001

Question 52

Answer 52

Kara Walker "They Waz Nice Folks While They Lasted (Says One Gal to Another)" Installation (Borrows some techniques from theater set design.) Cut paper and projection on wall. 427 cm x 610 cm.