Final Slides

Question 1

Answer 1

Kazimir Malevich

Suprematist Composition: White on White

1918

white as a space of infinity, some composition (hand of artist seen), discussed by Moholy-Nagy

Question 2

Answer 2

El Lissitzky

Town

1919-20

coming out of the canvas, relation to Malevich’s black square

Question 3

Answer 3

Marcel Duchamp

Fountain

1917

shock, affront to the notion of art, bodily functions

Question 4

Answer 4

First International Dada Fair

1920

“art is dead,” political, attacks notion of a gallery space

Question 5

Answer 5

Robert Rauschenberg

White Painting [Three Panels]

1951

shock, not abstract (unlike Newman) no subjective reading, relationship to readymades, working within institution, turned into combine

Question 6

Answer 6

Floor plan of John Cage, “Untitled,” (Black Mountain College Event)

1952

Drawn by M.C. Richards

no photographs, action happened everywhere, connection to lots of mediums, Artaud and mise en scene

Question 7

Answer 7

Ellsworth Kelly

Window, Museum of Modern Art, Paris

1949

constructed relief, moves into real space, window as metaphor, Fresh Widow, canvas as physical with two sides

Question 8

Answer 8

Robert Rauschenberg

Factum I and Factum II

1957

has duplicate but can’t tell which is first bc done at the same time, paint and cloth and language, iteration

Question 9

Answer 9

Robert Rauschenberg

Charlene

1954

relation to Four Fur Cutting Boards with 4 panels, similar motifs

Question 10

Answer 10

John Cage

4’33”

1952

ambient and almost site-specific, moving away from intentionality to understand world, silence as transparency (separates from Dada minus Duchamp)

Question 11

Answer 11

Marcel Duchamp

The Bride Stripped Bare by her Bachelors, Even (The Large Glass)

1915-23

exploring relationship to environment, flatbed picture plane, sandwiched between two panes of glass, transparency (Cage)

Question 12

Answer 12

Jasper Johns

Flag

1954-55

first mature work (attempted to destroy previous works), relationship between material and paint, change in focus (flag/newsprint), flag/target question (focus of mind/eye changes)

Question 13

Answer 13

Jasper Johns

False Start

1959

matches/mismatches language and reality with colors and titles, subverting language to subvert understanding (not hard to make but hard to understand)

Question 14

Answer 14

Marcel Duchamp

The Bride Stripped Bare by her Bachelors, Even (The Green Box)

1934

recursive/language like Johns, box was created later, self-contained, Fluxus Year Boxes

Question 15

Answer 15

La Monte Young

Composition 1960 #5

1960

indeterminate length of performance, aimed at testing/going beyond Cage, relate to Audience Piece

Question 16

Answer 16

Yoko Ono

Audience Piece

1962

reverse roles of performer and audience like comp #6, places of audience and performers interchangable based on power

Question 17

Answer 17

George Brecht

Word Event (Exit)

1961

de-skilling using something super banal, anyone can exit, movement between language and readymade object

Question 18

Answer 18

Robert Morris

Box with Sound of Its Own Making

1961

perform role of listener by listening to recording (Cage did it, called it performance), self-contained, also a score for another performance (it can be measured and reproduced)

Question 19

Answer 19

Jackson Pollock

Cut-Out

1948-50

Ohara sees it as something scupltural and hybrid, cut away from abstract field to create figure in negative, figuration/abstraction in state of negation

Question 20

Answer 20

Claes Oldenburg

Snapshots from the City as performed in “The Street”

1960

relationship between movement and stasis (life/death), language and figuration undermined like Johns, status of object as artwork (False Start)

Question 21

Answer 21

Claes Oldenburg

The Store

1961

environment, notion of the fragment, commodity fetishism (consumer desire projected onto object), between sculpture and painting, shop window, readymade opposite of Duchamp

Question 22

Answer 22

Hans Namuth

Photographs of Jackson Pollock at work on Autumn Rhythm

1950

motion, artist being in the art, aesthetic sublimation (artist directs impure energy (sexual, violent) into pure art energy) opposite of de-sublimation in Snapshots

Question 23

Answer 23

Allan Kaprow

18 Happenings in 6 Parts

October, 1959

first happening, smell incorporated as a form of inter-mediality, audience/performers moved

Question 24

Answer 24

Carolee Schneemann

Four Fur Cutting Boards

1963

fully in dialogue with R, umbrellas but also kinetic, four panels

Question 25

Answer 25

Carolee Schneemann *Eye Body* 1963 performance for a camera, putting herself into the collage (gender dynamics), notion of western nude (being both the image and the maker as a woman), precursor to feminist art

Question 26

Answer 26

Carolee Schneemann *Meat Joy* 1964 best-known, transforms paradigm of post-Cagean happenings, embraces messy multiplicity (Artaud), not mathematical like Cage but personal ethic, draw on life as a woman, male influences decrease female theatrical enjoyment (de Beauvoir)

Question 27

Answer 27

Carolee Schneemann *Viet Flakes* 1965 reference to the Vietnam war and her name, photographs not in the US press, relation to *Flag* with deeper level and cultural object status, mediating phenomenon through television

Question 28

Answer 28

Ken Jacobs *Saturday Afternoon Blood Sacrifice* (From *The Whirled)* 1956 formal composition with aesthetics of failure, form works against content (according to Jacobs)

Question 29

Answer 29

Allan Kaprow *Yard* 1961 kinesthetic relation to work like Pollock's photographs, trash aesthetic

Question 30

Answer 30

Ken Jacobs *Little Cobra Dance* (From *The Whirled*) 1956 circular structure, much more free and impromptu in form+content, engagement with the camera

Question 31

Answer 31

Ken Jacobs *Star Spangled to Death* 1956-60/2003-04 aesthetics of failure (refuse), collage aesthetic, relation to older styles (vaudville), excess (like *Snapshots*), allegorical, fragmented

Question 32

Answer 32

Jack Smith *Scotch Tape* 1959-62 questions materiality of image, figures engulfed like P's drip paintings, abstract field, scotch tape in corner stays constant to judge scale, comic unlike Jacobs

Question 33

Answer 33

Jack Smith untitled photgraph ca. 1957 like stills from a movie, orientation indeterminable, baroque aesthetic, eroticism

Question 34

Answer 34

Jack Smith *Flaming Creatures* 1962-63 prosecuted for obscenity, erotic but not pornographic (no sex), film stock was meant as machine gun stock (war film) so outdated, shot to be overexposed, home made movie aesthetic, aestheticizing trash quality, transgressing moral codes, mise en scene, detritus of capitalist society

Question 35

Answer 35

Stan VanDerBeek MovieDrome ca. 1965 indeterminate because you can't see all 360 degrees, utopian idea of television, space/time collapsed into contiguous presence

Question 36

Answer 36

Robert Whitman *Prune Flat* 1965 replacing painting with cinema screen, space is not determined by physical commodities (ex. newspaper) but spectacular projection (ex. television)

Question 37

Answer 37

Allan Kaprow *A Spring Happening* March 1961 essentializing women (gender politics unintentional), contrast with Schneemann and role of audience

Question 38

Answer 38

Robert Rauschenberg *Cunning Hanger* 1959 transfer drawing (partially), visually chaotic, stacks of images vertically like film, iteration, trying to modernize drawing, Cage referred to these as "combine drawings"

Question 39

Answer 39

Andy Warhol *Baseball* 1962 filmlike motion with linear progression, relation to R's previous work such as *Will*

Question 40

Answer 40

Robert Rauschenberg *Retroactive I* 1963 elements of pop, collage aesthetic, transfer method, iteration of hand