Midterm 2 Slides

Question 1

Answer 1

Flag

Jasper Johns

1954-55

first mature work (attempted to destroy previous works), dreamt of work from source of Rauschenberg’s Yoicks (very Freud), relationship between material and paint

Question 2

Answer 2

Target with Plaster Casts

Jasper Johns

1955

uncomfortable idea of people in front of targets, undecided as a painting or object or both or neither

Question 3

Answer 3

Flag above White with Collage

Jasper Johns

1955

figure and ground united, white indistinguishable from stripes

Question 4

Answer 4

Book

Jasper Johns

1957

word play red/read, status of object is not decidable

Question 5

Answer 5

False Start

Jasper Johns

1959

matches/mismatches language and reality with colors and titles

Question 6

Answer 6

Fool’s House

Jasper Johns

1962

broom or representation of the broom (Duchamp)?, is the cup real/representation because it’s outside of frame

Question 7

Answer 7

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

Marcel Duchamp

1915-23, 1934

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

Question 8

Answer 8

Composition 1960 #5

La Monte Young

1960

indeterminate length of performance, aimed at teseting/going beyond Cage,

Question 9

Answer 9

score for Poem for Tables, Chairs, Benches, etc.

La Monte Young

1960

first mature work according to Joseph, indeterminacy because of uneveness of floor, moves indeterminacy from score into material

Question 10

Answer 10

Chair Event (score and realization)

George Brecht

1962 score, 1970’s realization

model for linguistic score to initiate material realization, indeterminate realization, spectral colors come from Brecht’s desire to relate to painting

Question 11

Answer 11

Reading of George Maciunas’ manifesto, “Neo-Dada in Music, Theater, Poetry, Art” at the “Après John Cage” festival

Wuppertal, Germany

1962

wants to recover dada from neo, sees hybridity, to surpass Cage you must do it through dividing art/life

Question 12

Answer 12

Audience Piece

Yoko Ono

1962

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

Question 13

Answer 13

Cut Piece

Yoko Ono

1964

gendered dynamic of being acted upon, the fragment and atomic age (war as visual culture)

Question 14

Answer 14

The Cabinet

George Brecht

1959

objects are placed in it moving from room to object (instead of R moving from object into the room), transparent in the Cagean sense (external things become part of it)

Question 15

Answer 15

Word Event (Exit)

George Brecht

1961

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

Question 16

Answer 16

Proposition #2

Alison Knowles

1962

art/life, like much of Fluxus works exists as score but lends itself to performance

Question 17

Answer 17

Box with the Sound of Its Own Making

Robert Morris

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 18

Answer 18

Untitled

Claes Oldenburg

1960

visual representation of sounds in Snapshots of the City, scatological

Question 19

Answer 19

Untitled [Composition with Black Pouring]

Jackson Pollock

1947

influenced Oldenburg (scatology, visual, environment), point of departure for Happenings (painted on floor)

Question 20

Answer 20

Cut-Out

Jackson Pollock

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 21

Answer 21

Limbour as a Crustacean

Jean Dubuffet

1946

engaged with inscription and graffiti, idea of art brut (art of the outsider) from him

Question 22

Answer 22

The Street

Claes Oldenburg

1960

inscription and graffiti (O was interested in graffiti as part of popular culture), engagement of pictorial field with writing (like Twombly and R), comic book tradition, low art, environments

Question 23

Answer 23

The Store

Claes Oldenburg

1961

notion of the fragment, commodity fetishism (consumer desire projected onto object), between sculpture and painting

Question 24

Answer 24

“Empire” (“Papa”) Ray Gun

Claes Oldenburg

1959

phallic/testicular, relation to Freud’s fetishism (lack of phallus), both is and is not a phallus

Question 25

Answer 25

*Jacket and Shirt Fragment (Half Jacket and Tie)* Claes Oldenburg 1961 fragment relates to prior material (torn magazine), somewhere between fetishistic/uncanny (like surrealism), scatological (blood/feces)

Question 26

Answer 26

*Pastry Case* Claes Oldenburg 1961 self-contained, paint on object defines them rather than form

Question 27

Answer 27

*Cash Register* as installed in *The Store* Claes Oldenburg 1961 recognizable by form and not paint, unstable contrast between painting and sculpture (like Johns), like taking canvas off stretcher and onto chicken wire

Question 28

Answer 28

*18 Happenings in 6 Parts* Allan Kaprow 1959 first happening, smell incorporated as a form of inter-mediality, audience/performers moved