ARTH 374 Exam 2 PDF

ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw 1. Institutional Critique: the act of critiquing an institution as artistic practice, the institution usually being a museum or an art gallery 2. Performance Art: art period includes works involving the human body, usually including...

ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw 1. Institutional Critique: the act of critiquing an institution as artistic practice, the institution usually being a museum or an art gallery 2. Performance Art: art period includes works involving the human body, usually including the artist, in front of an audience 3. Postmodernism: post-World War II intellectual movement and cultural attitude focuses on cultural pluralism and release from the confines and ideology of Western high culture 4. Pictures Generation: art movement involved photographers influenced by the negative social/political realities of the 60s and 70s and wanted to explore and often recontextualize popular images 5. Subjects of History: narrative scenes from classical mythology, the Bible, and ancient or modern history (such as literary scenes or allegorical themes) 6. Pictorial Photography: an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality (Think: Sam Taylor Wood) 7. Body Art: Art in which the human body is used as both subject and object of the work 8. pastiche: (part of neoconservative postmodernism) a mix of incongruous parts; artistic work imitating the work of other artists, often satirically (Think: Julian Schnabel) 9. Renewal of Drawing - foregrounding of erasure: William Kentridge erases and alters a single, stable drawing while recording the changes with stop-motion camera work. the result is a hybrid of drawing and film 10. Identity: an attempt to encourage reflection on operations of art history that have been systematically disadvantaged (a non-white, male, and hetero-normative experience) (Think: Carrie Mae Weems) 11. Virtuality: imagery created by computer technology of objects and phenomena that produces an imaginary picture of actual things, people, and experiences 12. Feminism: this movement seeks to challenge the dominance of men in both art and society, to gain recognition and equality for women artists, and question assumptions about womanhood (Think: Judy Chicago and Mary Kelly) 13. Textuality: comprises all of the attributes that distinguish the communicative context under analysis as an object of study 1/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw (Think: Barbara Kruger) 14. Abject Art: used to describe artworks which explore themes that transgress and threaten our sense of cleanliness and propriety particularly referencing the body and bodily functions (Think: Robert Gober) 15. Installation Art: an artistic genre of three-dimensional works that often are site-specific and designed to transform the perception of a space (Think: Douglas Gordon and Bill Viola) 16. Globalism: abstraction through which we come to envision what artistic produc- tion all over the world at the same time might look like 17. Conceptual Art: art in which the idea presented by the artist is considered more important than the finished product, if there is one. (Think: John Baldessari and Michael Asher) 18. John Baldessari: What conceptual artist created "This Is Not to Be Looked At", 1968? 19. John Baldessari: What conceptual artist created "Baldessari Sings LeWitt?", 1972 20. Michael Asher: What conceptual artist created "Pomona College Project", 1970? 21. "Sculpture in the expanded field"--Krauss theory and Diagram: Rosalind Krauss' highly influential essay addresses the idea of expanding the previously prohibited terms of architecture and landscape 22. Institutional Critique: an art movement that began in the late 1960s when artists began to create art in response to the institutions (museums and galleries) that bought and exhibited their works 2/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw (Think: Hans Haacke) 23. Hans Haacke, Shapolski et al. Manahatten Real Estate Holdings, a Real-Time-Social System, as of May 1, 1971: this landmark work of institutional critique documents the ownership and control of urban space. it is comprised of 146 photographs of Manhattan apartment buildings, maps of Harlem and the Lower East Side, charts documenting real estate transactions, and financial histories of the buildings. 24. Carolee Schneemann, Eye Body, 36 Transformative Actions for Camera, 1963: this performance art as action artist pushed the boundaries of artistic and sexual expression and helped shape the canon of feminist art. her work challenged bodily taboos and investigated women's roles in art and society. 25. Vito Acconci, Trademarks, 1970: this performance art as task artist established a task to execute and then performed it diligently, biting as many parts of his naked body as he could reach and documenting his self-mutilation with photographs and printer's ink. 26. Chris Burden, Transfixed, 1974: this performance as ritual artist glued himself to a Volkswagon Beetle "the people's car" whiles recalls the crucifixion of Jesus Christ and the concept of transubstantiation, the process of Eucharistic bread and wine become Christ's body and blood 27. Judy Chicago and Miriam Shapiro, Womanhouse, 1972: these feminism artists worked with a group of students and local artists to transform a dilapidated house in Los Angeles into a setting for a series of imaginative installations. This installation expanded the conversation around which materials are considered suit- able for artistic expression. 28. Judy Chicago, The Dinner Party, 1974-9: this feminist artist created an icon- ic 1970s feminist art piece that is comprised of a massive ceremonial banquet, arranged on a triangular table with 39 place settings, each commemorating an important woman of history 29. Mary Kelly, Post-Partem Document: Documentation VI, Pre-Writing Alpha- bet, Exergue and Diary, 1978: this feminist artist explores the relationship between her and her son over six years, chronicling the early developmental years of his life and his growing separation from her. She proposed that female artists can enter the world of art-making without forsaking the biological activity of creating and rearing a child. 3/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw 30. Laura Mulvey "Visual Pleasure and Narrative Cinema (1975): In this 1975 essay, post-modernist film theorist ___ argues that mainstream film form is based on a patriarchal unconscious which derives pleasure from voyeurism and narcissism 31. Martha Rosler, First Lady (Pat Nixon), from the series Bringing the War Home: House Beautiful, 1967-72: this postmodernist and pictures generation artist created a photomontage (in protest of the Vietnam War) that combines images of the war with advertisements and glossy illustrations of fashionable American home interiors. alludes to the phrase "living room war," since it was the first major military conflict to be televised. 32. Cindy Sherman, Untitled Film Still #7, 1978: this postmodernist (and major figure of the pictures generation) artist captured herself reenacting pop culture clichés about women 33. Sarah Charlesworth, April 21, 1978, 1978: this postmodernist and pictures generation artist reproduced original newspapers that follows photo of former Italian Prime Minister Aldo Moro, held in captivity by the Red Brigades, as dispersed in newspapers worldwide. the Red Brigades released this photo of Moro holding the newspaper as proof that he was still alive. 34. Neoconservative Postmodernism: reacted against modernism, which it re- duced to abstract appearance alone--to the glass-and-steel International Style in architecture, to abstract painting in art, and to linguistic experimentation in diction. it countered this modernism with a return to ornament in architecture, to figuration in art, and to narrative in fiction (Think: Julian Schnabel) 35. Julian Schnabel, Exile, 1980: at the pinnacle of neoconservative postmod- ernism, this piece uses strange surfaces to call viewers attention and reassert emotion. the disconnect between the critical crows and him became apparent as the subject matter of his work became pastiche, the citing of historical styles and using a mix of quotations. 36. Post-Structural Postmodernism: questioned both the originality of the artist and the authority of the tradition in which representation was held to construct reality more than to copy it, to subject us to stereotypes more than to reveal the truth about us. 4/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw (Think: Barbara Kruger) 37. Barbara Kruger, We Won't Play Nature To Your Culture , 1983: this textuality and post-structural postmodernist piece addresses the cultural perception of women as a social interaction, a mass-controlled phenomenon, historically reserved for men. 38. Group Material, AIDS Timeline, 1989: this piece is a critical representation of time that diagrammed a decade of chronological relationships and patterns intended to meet the demands of the social conditions as opposed to the demands of the art market (reconsidering history and subjects of history) 39. Felix Gonzalez-Torres, Untitled (USA Today), 1990: in this work, visitors are invited to take a piece of candy and eat it. mimicking the color scheme of the American flag, the work references the newspaper USA TODAY, making the news convenient and easily digestible. flies in the face of taboos in art against touching. brings together a Postminimalist-like arrangement with Pop-like materials. (reconsidering history and subjects of history) 40. Fred Wilson, Mining the Museum, 1992: this artist explored the Maryland Historical Society's collection of historical artifacts, reclaimed certain objects in the collection (most evocative of African-American experiences), and reframed other objects already part of the official history (reconsidering history and subjects of history) 41. Carrie Mae Weems, Untitled (Man Reading Newspaper), from the Kitchen Table Series, 1990: (identity and narrative) this piece consists of views of one of two black subjects (a man and a woman, two female friends, and so on) seated at a kitchen table under a stark light; beneath the images run narrative texts in a third-person voice that mulls over the different demands of personal longings, romantic relationships, domestic arrangements, and workaday obligations 42. Kehinde Wiley, An Economy of Grace, 2014: (identity and narrative) this se- ries of works attempts to reconcile the presence of black female stereotypes that surrounds their presence and/or absence in art history, and the notions of beauty, spectacle, and the 'grand' in painting." 5/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw 43. Robert Gober, Untitled, 1991: this abject art piece presents the body parts in order to query the intricate relations among aesthetic experience, sexual desire, and death. art involved with memory and trauma. 44. William Kentridge, Felix in Exile, 1994: this renewal of drawing piece forms a bridge between Felix, standing at his hotel-room mirror to shave and Nandi, looking back at him from faraway Africa, and allows Felix to observe the murder of Nandi, shot down as she draws 45. Douglas Gordon, 24 Hour Psycho, 1993: (installation and large-scale video art) this artist projected a version of Alfred Hitchcock's film "Psycho" onto a translu- cent screen and slowed down to a duration of 24 hours. 46. Bill Viola, The Crossing, 1996: (installation and large-scale video art) this room-sized video installation comprises a large two-sided screen onto which a pair of video sequences is simultaneously projected where a figure is calmly consumed by fire on one side of the screen and a figure inundated by water on the other 47. Sam Taylor Wood, Soliloquy I, 1998: this piece presents large portraits of a figure above with smaller panoramas of various scenes below, on the model of the Renaissance altarpiece with its underlying "predella" pictures. developed to convey different orders of existence (heavenly and earthly) in the scenes of a saintly life, is updated to evoke different orders of experience, objective, subjective, public and private, perhaps conscious and unconscious. (pictorial photography) 48. Thomas Hirschhorn, Gramsci Monument, 2013: based on this artist's will "to establish a definition of monument, to provoke encounters, to create an event, and to think Gramsci today." Constructed by residents of Forest Houses, the artwork takes the form of an outdoor structure comprised of numerous pavilions (narratives) 49. Rikrit Tiravanija, Untitled (Free), 1992: this artist moved all the contents of the back room of the small 303 Gallery into the front room and set up shop in the back cooking curries for those who dropped by. "Coming out of action" when no cooking is taking place, but the remnants of the activity nonetheless remain present—dirty utensils and scraps of food are left to crust up or decay in what might be read as an allegory of a public sphere fallen to ruin. (virtuality, community, and globalism) 50. Harun Rarocki, Serious Games 1: Immersion, 2009: explores how the U.S. military employs video game technology to train troops for war and to treat an aftereffect of war (PTSD). Filmed at the United States Marine Corps Air Ground 6/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw Combat Center, this piece pairs footage of soldiers at computers engaging in combat-simulation training with scenes from the video games. (virtuality, community, and globalism) 51. Ai Weiwei, Fairytale, 2007: 1001 Chinese citizens, most traveling abroad for the first time, were brought to Kassel as "tourists". As in a fairytale, these travelers were transported to a different world—an art world—at minimal cost to themselves and with the technical assistance of Ai's substantial staff all along the way Gave a real-life snapshot of the realities beneath globalization's glib surface of easy mobility Repurposed Chinese antiques in startling ways that call attention to the endanger- ment of China's traditional material culture under the pressure of its rapid develop- ment. 52. All of these. Impulses (how often men appeared in the newspaper im- ages, how the scale and placement of newspaper pictures signal importance, and how newspapers participate in maintaining state authority): When Sara Charlesworth whited out the words in newspapers, what was she trying to show? 53. Distort television signals: dislocate television sets: When the Korean-born artist Nam June Paik moved to the US in 1964, he began _____ and ______. 54. Verbal statements that address the viewer/activated reader: Barbara Kruger takes existing pictures from the culture and adds______? 55. Appropriating pictures: examining how the female subject is represented in film and media: Two strategies associated with Pictures Generation artists are ______ and ______? 56. Women in films from the 1950s and 1960s: Cindy Sherman took self-portraits disguised as _______? 57. She combines two images (a publicity photograph of Pat Nixon and a news image of war casualty): In this artwork, how does Martha Rosler comment on the Nixon White House and their policies? 58. pastiche: Which of the following terms applies to neoconservative postmod- ernism as it was theorized by our textbook authors? 59. All of these elements: antlers and a wooden toy Madelaine doll, a wooden toy Madelaine doll and an image of a turbaned, old man, and an image from 7/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw Caravaggio and antlers: Julian Schnabel engaged "pastiche" in Exile (1980) by combining high and low elements? Which choice best describes these elements? 60. True: True or False. Postmodern artist Fred Lonidier's photographic series enti- tled 29 Arrests (1972) critiques 1960s conceptual photography's seemingly neutral practice by infusing the photograph with political, contextual, and historical informa- tion. 61. Pastiche and textuality: 1984b describes two approaches to postmodernism. They are ___________________ and _________________________. 62. HIV and AIDS: Robert Gober's sculpture references the body. What issue affect- ed this artist and underpins his exploration of the body? 63. a negative representation of the tormented body, ravaged by death and disease: According to our textbook authors, representations of the "abject" emerge in art as a result of the AIDS crisis and pervasive poverty. The abject is defined as ______. 64. all of these are true It is a large-scale video projection that depicts a man deluged in water and burned in fire on the flip side, It is a large-scale video projection with sound that intensifies as the action increases, it suggests ritual passages like a baptism and a funerary rite: What is true about Bill Viola's art practice and his artwork entitled The Crossing, (1996)? 65. evoke a classifying approach to representing black subjects and their stature within the culture: According to our textbook authors, In this photographic series, Carrie Mae Weems creates images that ________________ 66. camoflage: What is the motif that becomes appropriated from the military and used for all sorts of commercial products? Thomas Hirschhorn investigated it. 67. how installation affects paintings' meaning and awareness of paintings function within a network: Our textbooks authors investigate the discourse of painting in the 2000-2009. They argue that artists are creating paintings that inves- tigate what concerns? 68. all of these options it provided a visual "branding" for the Chinese citizens through t-shirts, luggage, and sleeping environments designed by Ai Weiwei, it tackled the ad- ministrative challenges of global travel for 1001 Chinese citizens by obtaining travel permissions, it set up a stark contrast between western art tourism to "Documenta 12" and Chinese travelers, who were a part of "Fairytale" 2007: How did Ai Weiwei's Fairytale (2007) engage issues of Globalism? 8/9  ARTH 374 EXAM 2 Study online at https://quizlet.com/_e3cecw 69. it functions as a pedagogical platform and a "never-ending construction site": Thomas Hirschhorn's Gramsci Monument (2013) presents an open-ended platform of experiences including a cafe, a studio, a lecture series, and a memorial to Gramsci. On the whiteboard, we compared this platform to a seed that is planted and sprouts in various ways to engage in thinking about Gramsci, his ideas, and his prison notebooks. Which of the following best describes the function of this artwork? 70. True: True or False. Our textbook author suggests that Jeff Koons' sculptures engage a "kitsch" sensibility or one of tastelessness. 71. ÿÿÿ A break-up letter sent to the artist from her boyfriend: Artist Sophie Calle's artwork entitled Take Care of Yourself (2007), addresses what topic? 72. True: True or False. Our Textbook discusses how, in 2007, wealthy collectors began to look at contemporary art made by artists like Jeff Koons and Damien Hirst as a good investment. 73. False: True or False. Our textbook authors note a significant shift in sculpture in 2007 as artists begin to accumulate readymades and assemblages that were considered "monumental". 9/9