Visual Analysis Flashcards
(163 cards)
1
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From Amalia Ullman, Excellences and Perfections, 2014.
2
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Ray Barrie, Master/Pieces, 1981
3
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Mary Kelly, Interim, Part 1: Corpus, 1984
4
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Victor Burgin, Gravida, 1982
5
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Yve Lomax, Open Rings and Partial Lines, 1983-4.
6
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Silvia Kolbowski, Model Pleasure, Part 8, 1984
7
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Silvia Kolbowski, Model Pleasure, Part 8, 1984
8
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Mary Kelly, Post Partum Document, 1973-9, Documentation I: Analysed Fecal Stains and Feeding Charts
9
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Mary Kelly, Post Partum Document, 1973-9, Introduction, 1973
10
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Mary Kelly, Post Partum Document, 1973-9, Documentation VI: Pre-writing Alphabet, Exergue and Diary, 1978
11
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Installation of Marie Yates, The Missing Woman: Phase II, 1984. Difference: On Representation and Sexuality.
12
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Detail of Marie Yates, The Missing Woman, Phase II, 1984.
13
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Detail of Marie Yates, The Missing Woman, Phase II, 1984.
14
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Detail of Marie Yates, The Missing Woman, Phase II, 1984.
15
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Detail of Marie Yates, The Missing Woman, Phase II, 1984.
16
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Sherrie Levine, Fountain (After Marcel Duchamp), 1991
17
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Sherrie Levine, After Egon Schiele, 1982
18
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Sherrie Levine, After Egon Schiele, 1982. Seven gelatin silver and eleven chromogenic prints; edition two of two, 35.6 x 27.9 cm (14 x 11 in.), each, unframed; 175.26 x 307.34 cm (69 x 121 in.), installed.
19
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Sherrie Levine, After Piet Mondrian, 1984 watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.).
20
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Sherrie Levine, After Joan Miro, 1984, watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.)
21
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Sherrie Levine, After Egon Schiele, 1984 watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.)
22
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Sherrie Levine, After Fernand Leger, 1985 watercolor and graphite on paper 14 x 11 in. (35.6 x 27.9 cm.)
23
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Sherry Levine, After Walker Evans: 4, 1981
24
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Sherrie Levine, Six Pictures, After Franz Marc, 1982. Installation view of six lithograph prints.
25
Louise Lawler, Why Pictures Now, 1981. Black & white photography, 7.6 × 15.2 cm
26
Louise Lawler, Untitled, 1978. Artists Space, New York.
27
Louise Lawler, Pollock and Tureen, arranged by Mr and Mrs Burton Tremain, Connecticut, 1984. Cibachrome, 16 x 20 inches (40.6 x 50.8 cm)
28
Barbara Kruger Untitled (You thrive on mistaken identity), 1981. Gelatin silver print.
29
Barbara Kruger Untitled (30th and Crescent Street Queens, NY 100), 48"x70”. Posters installed in bus shelters throughout New York City February - April 1991 Public Art Fund
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Barbara Kruger, Untitled (You Are Not Yourself), 1980
31
Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1980–1.
32
Cover of Resistance (AntiBaudrillard), 1987
33
Installation view of Group Material, Resistance (Anti-Baudrillard), 1987. White Columns, New York.
34
R. Jenny Holzer, Truisms poster, 1977–9 and L. Truisms poster in situ in New York, c.1977.
35
Jenny Holzer, Inflammatory Essays, 1979–82
36
Jenny Holzer, Messages to the Public, March 1982, Times Square, New York
37
Jenny Holzer, Untitled (Protect Me From What I Want), 1983–85. Packaged latex condoms, with printed text
38
Jenny Holzer, Untitled (With All the Holes…) from the Survival Series, 1983–5
39
Jenny Holzer, You Are My Own, projection, Florence, 1996
40
Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978-1979
41
Press materials made for the release of Looking for Langston, 1989.
42
Isaac Julien, still from Looking for Langston, 1989
43
Stills from the archival sequences in Isaac Julien, dir., Looking for Langston, 1989.
44
Still from Isaac Julien, Looking for Langston, 1989. 16 mm, Black and White, Sound, 1 hour.
45
George Platt Lynes. 'Untitled [Charles 'Tex' Smutney and Charles 'Buddy’ Stanley] , c.1942.
46
George Platt Lynes, Leaphart McCarthy
47
Stills from the Mapplethorpe sequence in Isaac Julien, dir., Looking for Langston, 1989.
48
Two stills from documentation of Mona Hatoum, Roadworks, 1985. Video, colour, 6’45. Brixton Art Gallery, London.
49
Still from Measures of Distance by Mona Hatoum, 1988. Video, projection, colour and sound (mono), Tate.
50
Mona Hatoum, Under Siege, sketchbook drawing, 1982.
51
J. Macpherson, documentation of Mona Hatoum, Under Seige, 1982.
52
Mona Hatoum, performance documentation of Negotiating Table, 1983.
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Mona Hatoum, performance documentation Position Suspended, 1986.
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Ryan Rodgers, documentation of Mona Hatoum, Matters of Gravity, 1987 at Kettle’s Yard, Cambridge.
55
Still from Mona Hatoum, Variation on Discord and Divisions, 1984. Colour video, 40 minutes.
56
Stills from Mona Hatoum, Variation on Discord and Divisions, 1984. Colour video, 40 minutes.
57
Mona Hatoum, Light at the End, 1989. Iron frame and six heated elements. Showroom, London.
58
Cover of Gay Power, vol.1, no.16, 1970
59
Robert Mapplethorpe, Bull’s Eye, 1970.
60
Robert Mapplethorpe, Brian Ridley and Lyle Heeter, 1979
61
Robert Mapplethorpe, Self Portrait with Whip, 1978
62
Frank Herrera, photograph of The Perfect Moment protest, June 30, 1989, Corcoran Museum, Washington D.C.
63
Glenn Ligon, Red Portfolio, 1993, detail, suite of nine black-and-white photographs edition of 5 and 1 AP, 50.8 x 40.6 cm.
64
Gran Fury, Let the Record Show, 1987.
65
Gran Fury, You've Got Blood on Your Hands, 1988, New York.
66
Gran Fury, AIDS: ! In 61, poster, 1987.
67
Gran Fury, Kissing Doesn't Kill, which was part of a public-art project called "Art Against AIDS On the Road” 1989.
68
General Idea, AIDS (A Project for the Public Art Fund, Inc.), 1989. 4,500 posters placed in the New Yok subway system.
69
And General Idea, Imagevirus, 1991. Photograph of Project for the Public Art Fund.
70
Gregg Bordowitz, some Aspects of a Shared Lifestyle, 1986. Video, colour, 22:23.
71
Still from Testing the Limits New York, Testing the Limits Collective, 1987.
72
From David Wojnarowicz, Arthur Rimbaud in New York , 1978–79. gelatin silver print, 10" x 8"
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From David Wojnarowicz, Arthur Rimbaud in New York , 1978–79. gelatin silver print, 10" x 8"
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David Wojnarowicz, Untitled, 1983. Acrylic on supermarket poster, 30x20
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David Wojnarowicz, Untitled (Genet after Brassai), 1979/1990. Hand-colored Xerox, 35 x 47 1⁄2 inches.
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David Wojnarowicz, Untitled, from Sex Series (For Marion Scemama), 1988-89. From a series of eight gelatin-silver prints, 31” x 34
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David Wojnarowicz, untitled , 1991, silkscreen print , 24x29
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David Wojnarowicz, untitled , 1993, gelatin silver print , 28.5" x 28.5”.
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Janine Antoni, Mom and Dad, 1993
80
David Wojnarowicz (in collaboration with Phil Zwickler and Rosa von Praunheim) still from the film "Silence = Death" , Untitled, 1990
81
Sue Williams, Are You Pro-porn or Anti-porn?, 1992, acrylic on canvas
82
Sue Williams, Are You Pro-porn or Anti-porn?, 1992, acrylic on canvas
83
Installation view of Pat Lasch’s Roladen, 1993; Madonna and Child, 1993; Birthing My Husband, 1992, in Bad Gils II, The New Museum, 1994.
84
Rona Pondick, Double Bed, 1989.
85
Laura Aguilar, Untitled Self Portrait, 1991
86
Collier Schorr, Untitled (The Purloined Dick), 1995, C-print.
87
Collier Schorr, Two Shirts, 1998. Cprint.
88
From, Anna Gaskell, Wonder, 1996. Left Untitled no.2, C print, 127-101.6 cm.
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From, Anna Gaskell, Wonder, 1996. Untitled no.3, C print, 152.4 x 127 cm.
90
Janine Antoni, Gnaw, 1992. Installation view of lard and chocolate blocks.
91
Janine Antoni, Gnaw, 1992. Photographic documentation of chocolate box shell and lipsticks made from chewed chocolate and lard.
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Janine Antoni, Lick and Lather, 1993
93
Mike Kelley, Ahh… Youth!, 1991.
94
Mike Kelley, Craft Morphology Flow Chart, 1991. 114 dolls, 60 photographs, 1 acrylic on paper drawing, 33 folding tables.
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Mike Kelley, Lumpenprole, 1991. Rug with found objects.
96
Mike Kelley, Dialogue #1 (Theory, Garbage, Stuffed Animals, Christ), 1991.
97
Mike Kelley, Ass Insect, from Monkey Island: Symmetrical Sets, 1982-3
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Mike Kelley, banners, 1987.
99
Mike Kelley and Paul McCarthy, Heidi, 1992, 1 hour 3 minutes.
100
Thomas Hirschhorn, Mondrian Altar, 1997, remade in New York 2011.
101
Thomas Hirschhorn, Direct Sculpture, 1999
102
Thomas Hirschhorn, Meret Oppenheim Kiosk, 2000.
103
Thomas Hirschhorn, Bataille Monument, 2002. Kassel, Germany.
104
Thomas Hirschhorn, The Procession, 2005.
105
David Hammons, Concerto in Black and Blue, 2002. Ace Gallery, New York.
106
Glenn Ligon, Untitled (I Am A Man), 1988, oilstick on canvas.
107
Glenn Ligon, Untitled (Invisible Man), 1993, oilstick on canvas.
108
Glenn Ligon, Untitled (I Remember the Very Day That I Became Colored), 1990. Oil stick, gesso, and graphite on wood. 80 × 30 in
109
Glenn Ligon, from Runaways, 1993. Lithographic prints on paper.
110
Glenn Ligon, Self Portrait Exaggerating My Black Features/ Self-Portrait Exaggerating My White Features, 1998. Silkscreen on canvas.
111
Glenn Ligon, Notes on the Margin of the Black Book, 1991- 3
112
Glenn Ligon, Mudbone (Liar) 3, 1993, acrylic and oilstick on linen.
113
Glenn Ligon, Live, 2014, seven channel video, 80 mins.
114
Glenn Ligon, Untitled, 2006, shaped neon bulbs and paint
115
Glenn Ligon, Rückenfigur, 2009. Neon and paint
116
Renée Green, Sa Main Charmante, 1989, mixed media installation (stage light, paper, paint, and ink on wood).
117
Renée Green, Seen, 1990. Installation, 207 x 207 x 136 cm
118
Renée Green, Sites of Genealogy, Installation view at MoMA PS1, Queens, New York, 1991.
119
Renée Green, Import/Export Funk Office, installation view at Galerie Christian Nagel, Cologne, 1992
120
Renée Green, Endless Dreams and Water Between, installation view, National Maritime Museum, Greenwich, UK, 2009.
121
Martine Syms, everything I’ve Ever Wanted to Know, 2007-8.
122
Martine Syms, Notes on Gesture, 2015.
123
Martine Syms, installation view, Martine Syms: Fact &Trouble, Institute of Contemporary Art, London May-June 2016
124
Nathaniel Donnett, How Can You Love Me And Hate Me At The Same Time?, 2011, plastic bags, paper, paper bas, wood and gold leaf.
125
JODI, www.jodi.org.
126
Jesse Darling, Triptych (Not Long Now) , 2014, mixed media.
127
Hito Steyerl, How Not To Be Seen A Fucking Didactic Eductaional.MOV File, 2013. Video, high definition, projection, colour, 14 mins.
128
Seth Price, Taking/Writing/Lighting, 2007. Diamond acrlic plaster laminated to Carpatian elm, olive ash burl and walnut burl woods.
129
Hito Steyerl, Liquidity Inc., 2014 (still) HD video file, single channel in architectural environment, 30 minute and installation view at ICA Boston.
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Hito Steyerl, Factory of the Sun, 2015.
131
Hito Steyerl, stills from November, 2004, 25 mins, 4:3, colour, sound.
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Hito Steyerl, stills from Lovely Andrea, 2007, video, 30 mins, 4:3, colour, sound.
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Laura Owens, Untitled, 2014, Acrylic, oil, Flashe, silkscreen ink, Pantone ink, pastel, paper, and wood on linen, 138 x 104 inches
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Laura Owens, Untitled, 1997, Acrylic and oil on canvas, 96 x 120 inches
135
Laura Owens, Untitled, from ‘12 Paintings by Laura Owens’ 2013. Exhibition at 356 Mission Road, Los Angeles.
136
Laura Owens, Pavement Karaoke, 2012. Installation shot at Sadie Coles HQ, London, 2012.
137
Laura Owens, Untitled, 2012, Acrylic, oil, Flashe, charcoal, cord and yarn on hand-dyed linen, 33 panels; each 35.5 x 33.25 inches
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Laura Ownes, Untitled, 2012, Acrylic, oil, Flashe, resin, pumice and collage on canvas, 108 x 84 inches and detail.
139
Laura Owens, Untitled, 2016, Oil, charcoal and tape on linen, 43 x 38 inches
140
Lynette Yiadom-Boakye, A Passion Like No Other, 2012, oil on canvas, 31 1/2 x 29 5/8 inches.
141
Lynette Yiadom-Boakye, The Hours Behind You, 2011, oil on canvas, 98 3/8 x 118 1/8 inches.
142
Zoe Leonard, The Fae Richards Photo Album, 1993–6.
143
Catherine Opie, Justin Bond, 1993, from Portraits.
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Catherine Opie, Joanne, Betsy, & Olivia, Bayside, New York, 1998. Chromogenic print, 40 x 50 inches, edition of 5.
145
Catherine Opie, Untitled, 1999, from O Portfolio.
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Catherine Opie, Untitled, 1999, from O Portfolio.,
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Catherine Opie, Being and Having, 1991.
148
Catherine Opie, ‘Bo’, from Being and Having, 1991.
149
Catherine Opie, ‘Chicken’, from Being and Having, 1991.
150
Catherine Opie, ‘Ron Athey/The Sick Man’, from Deliverance, 2000, Polaroid.
151
Catherine Opie, James, 1993, from Portraits.i
152
Catherine Opie, Self-Portrait/Perverti, 1994.
153
Catherine Opie, Self-Portrait/Nursing, 2004. Chromogenic Print
154
Stills from Sadie Benning, Living Inside, 1989, 00:05:10, B&W, Mono, 4:3, Pixelvision.
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Stills from Sadie Benning, If Every Girl Had a Diary, 1990, 00:08:00, B&W, Mono, Pixelvision.
156
Sharon Hayes , I March In The Parade of Liberty But As Long As I Love You I’m Not Free, 2007/8 (photo by Andrea Geyer).
157
Sharon Hayes, Revolutionary Love 2: I am Your Best Fantasy (detail, St. Paul), 2008, documentation of performance, Republican National Convention, St. Paul, MN.
158
Diana Davies, Dana Gottschalk Holds Poster at Christopher Street Gay Liberation Parade, 1970.
159
Sharon Hayes 'Revolutionary Love: I am Your Worst Fear, I am Your Best Fantasy', 2008 (installation view at Kunstmuseum St. Gallen, Switzerland).
160
Sharon Hayes, In the Near Future (detail), 2009, multiple-slide-projection installation, 13 x 35mm slide projections.
161
Patrick Staff, The Foundation, 2015. Installation shot at Spike Island, Bristol and stills.
162
Sharon Hayes In My Little Corner of the World, Anyone Would Love You, 2016 5-channel HD video, colour, sound; installation.
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Sharon Hayes In My Little Corner of the World, Anyone Would Love You, 2016 5-channel HD video, colour, sound; installation
