0134484592 ch33

Copyright © 2018, 2014, 2011 Pearson Education, Inc. All Rights Reserved
Art History
Sixth Edition
Chapter 33
The International Scene
since 1950

Learning Objectives (1 of 2)
33.a Identify the visual hallmarks of art and architecture created since the
1950s for formal, technical, and expressive qualities.
33.b Interpret the meaning of works of art created since the 1950s based
on their themes, subjects, and symbols.
33.c Relate artists and art created since the 1950s to their cultural,
economic, and political contexts.

Learning Objectives (2 of 2)
33.d Apply the vocabulary and concepts relevant to contemporary art,
artists, and art history.
33.e Interpret a work of contemporary art using the art historical methods
of observation, comparison, and inductive reasoning.
33.f Select visual and textual evidence in various media to support an
argument or an interpretation of a work of contemporary art.

Jasper Johns TARGET WITH PLASTER CASTS
1955. Encaustic and collage on canvas with objects, 51" × 44" (129.5 × 111.8 cm).
Collection Mr. and Mrs. Leo Castelli. Courtesy Castelli Gallery, Photo: Rudolph
Burckhardt. Art © Jasper Johns/Licensed by VAGA, New York, NY. [Fig. 33-01]

The World since the 1950s (1 of 2)
• The political and economic shifts brought by the end of World War II
meant that the U.S. and Soviet Union emerged as the world's powerful
nations; this led to the Cold War.
– The strategy of mutually assured destruction was intended to deter
nuclear war.

The World since the 1950s (2 of 2)
• The United Nations' efforts to maintain global peace have proven
inadequate.
• Terrorist attacks on the World Trade Center and Pentagon on
September 11, 2001 only exacerbated racial, ethnic, and religious
conflicts.

The History of Art since the 1950s
• Fundamental questions about art arose.
– What is art?
– Do works need to be objects or can they be ideas?
– Is it a combination of idea and object?
• Art that causes us to question our own morality is rarely easy to look
at, yet it engages us in necessary conversation.

THE WORLD SINCE 1950
International sites in the contemporary art world in the Americas, Europe, and Africa.
[Map 33-01]

The Expanding Art World
• Artists acknowledged the fragmentation, relativism, and messy relation
of art to popular culture through assemblage and collage.
• Pop artists and photographers made new aspects of art and
advertisement visible.

Finding New Forms (1 of 3)
• A new artistic path developed that combined disparate elements to
construct a work of art.
• Louise Nevelson developed an Analytic Cubist-inspired style,
collecting discarded packing boxes to arrange objects painted in matte
black.
– Sky Cathedral is an example.

Louise Nevelson SKY CATHEDRAL
1958. Assemblage of wood construction painted black,
11'3-1/2" × 10'-1/4" × 18" (3.44 × 3.05 × 0.46 m).
The Museum of Modern Art, New York. © 2016 Estate of Louise Nevelson/Artists Rights
Society (ARS), New York. © 2016. Digital image, The Museum of Modern Art, New
York/Art Resource/Scala, Florence. [Fig. 33-02]

• Rauschenberg, Cage, and Black Mountain College
– Robert Rauschenberg developed combines of painting, collage,
and sculpture in non-traditional material.
 Canyon includes a stuffed eagle and suspended old pillow in
its rich disorder.
 His work was exhibited in the Museum of Modern Art's "The Art
of Assemblage" in 1961, as one of two American artists.

Robert Rauschenberg CANYON
1959. Oil, pencil, paper, metal, photograph, fabric, wood on canvas, plus buttons, mirror,
stuffed eagle, pillow tied with cord, and paint tube,
81-3/4" × 70" × 24" (2.08 × 1.78 × 0.61 m). Museum of Modern Art, NY. Gift of the family
of Ileana Sonnabend. Art © Robert Rauschenberg Foundation/Licensed by VAGA, New
York, NY. © 2016. Digital Image, The Museum of Modern Art, New York/Scala, Florence.
[Fig. 33-03]

• Rauschenberg, Cage, and Black Mountain College
– John Cage explored eliminating intention and personal taste in art
making; his 4'33" composition is an exercise in listening to silence.
– Sometimes called the first "Happening," Theater Piece No. 1 was
performed at Black Mountain College in 1952.

New Forms Abroad (1 of 2)
• Artists around the world began to experiment with performance and
interactive exhibitions.
• Yves Klein directed nude women to become "living brushes" in
Anthropométries of the Blue Period in 1960.

Yves Klein ANTHROPOMÉTRIES OF THE BLUE PERIOD
1960. Performance at the Galerie Internationale d'Art Contemporain, Paris.
© Yves Klein/Artists Rights Society (ARS), New York/ADAGP, Paris 2016. Photo: Shunk -
Kender @ J Paul Getty Trust. Getty Research Institute, LA. (2014.R.20). [Fig. 33-04]

New Forms Abroad (2 of 2)
• Yoshihara Jirō founded the Gutai group in Japan, which produced
dramatic performances
– Shozo Shimamoto's Hurling Colors produced by smashing bottles
of paint against a canvas on the floor.

Shozo Shimamoto HURLING COLORS
1956. Happening at the second Gutai Exhibition, Tokyo. Courtesy of Shozo Shimamoto.
[Fig. 33-05]

Happenings and Fluxus (1 of 2)
• Allan Kaprow created loosely scripted, multimedia Happenings.
• Without the influence of Jackson Pollock's action paintings,
performance art would not have been developed.

Happenings and Fluxus (2 of 2)
• Kaprow
– Allan Kaprow staged Yard in a walled garden space filled with
tires, tar paper, and barrels.
 The audience was asked to walk through the cluttered,
unfamiliar space.
– Meat Joy was a radical feminist performance where eight men and
women undressed and rolled in raw meat

Allan Kaprow YARD
1961. View of tires in court of Martha Jackson Gallery, New York, 1961.
Photo: Ken Heyman. [Fig. 33-06]

Carolee Schneemann MEAT JOY
1964. Gelatin-silver print. A photograph by Tony Ray-Jones, taken in Judson Memorial
Church in November 1964. © 2016 Carolee Schneemann/Artists Rights Society (ARS),
New York. © Tony Ray-Jones/National Media Museum/Science & Society Picture Library.
[Fig. 33-07]

Happenings and Performance Art
(1 of 4)
• Fluxus
– Fluxus events were deliberately acted performances that often
focused on ordinary behaviors and were presented as written
"scores."
– George Brecht created Three Aqueous Events as one of 69 cards
to be performed by the reader.

George Brecht THREE AQUEOUS EVENTS
1961. Event score from Water Yam edition, 1963. Performance view, Rutgers University,
New Jersey, 1963. © 2016 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.
Courtesy Walker Art Center. / © 2016 Artists Rights Society (ARS), New York/VG Bild-
Kunst, Bonn. Photo: Peter Moore © Barbara Moore/Licensed by VAGA, New York, NY.
Courtesy Paula Cooper Gallery, New York. © 2016 Artists Rights Society (ARS), New
York/VG Bild-Kunst, Bonn. [Fig. 33-08]

(2 of 4)
• Fluxus
– Yoko Ono's Cut Piece was first performed in Japan, then at
Carnegie Hall.
 Audience members were invited to cut away bits of her clothes
to take with them.

Yoko Ono CUT PIECE
1965. Film still of performance at the Carnegie Recital Hall, New York on March 21, 1965.
Film by Albert and David Maysles.
© Yoko Ono. [Fig. 33-09]

(3 of 4)
• Fluxus
– Korean artist Nam June Paik produced a number of works with
Charlotte Moorman that combined sculpture, technology, music,
and performance.
 TV Bra for Living Sculpture was worn by Moorman while she
played the cello.

Nam June Paik with Charlotte Moorman TV BRA FOR LIVING SCULPTURE
1969. Performance view. Gelatin silver print. Collection Walker Art Center. Minneapolis,
T.B.Walker Acquisition Fund, 1991. Photograph by Peter Moore.
© Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper Gallery,
New York. [Fig. 33-10]

(4 of 4)
• Fluxus
– Joseph Beuys created a repertoire of significant materials and
objects that he used symbolically and performatively in his art in
an attempt to explain the inexplicable.
– How to Explain Pictures to a Dead Hare highlighted the problems
inherent in normal communication.

Joseph Beuys HOW TO EXPLAIN PICTURES TO A DEAD HARE
1965. Photograph of performance at the Schmela Gallery, Dusseldorf, November 26,
1965. © Ute Klophaus © 2016 Artists Rights Society (ARS), New York/VG Bild-Kunst,
Bonn. Courtesy Ronald Feldman Fine Arts, NY. [Fig. 33-11]

Pop Art (1 of 6)
• The growing presence of the mass media and disposable income
fueled the origins of pop art in Britain, which was then developed in the
early 1960s in the United States.
• Artists critiqued the superficiality of the fictional perfect home and
perfect person.

Pop Art (2 of 6)
• Hamilton
– Richard Hamilton's collage ...Today's Homes... satirizes modern
life and materialism in marketing campaigns.
– The piece represents two nearly naked people named Adam and
Eve who fill their home with all the best products to "recreate" a
Garden of Eden.

Richard Hamilton JUST WHAT IS IT THAT MAKES TODAY'S HOMES SO DIFFERENT,
SO APPEALING?
1956. Collage, 10-1/4" × 9-3/4" (26 × 24.7 cm).
Kunsthalle Tübingen, Collection Zundel. © R. Hamilton. All Rights Reserved, DACS and
ARS 2016. [Fig. 33-12]

Pop Art (3 of 6)
• Warhol and Lichtenstein
– Andy Warhol dominated the Pop art scene from the 1960s
onward.
– The Marilyn Diptych was made after Monroe's apparent suicide,
rendering her features flatly and recalling religious art.

Andy Warhol MARILYN DIPTYCH
1962. Oil, acrylic, and silkscreen on enamel on canvas, two panels,
each 6'10" × 4'9" (2.05 × 1.44 m).
Tate, London. Marilyn Monroe LLC under license authorized by CMG Worldwide Inc.,
Indianapolis, In © 2016 The Andy Warhol Foundation for the Visual Arts, Inc./Artists
Rights Society (ARS), New York. © Tate, London 2016 [Fig. 33-13]

Pop Art (4 of 6)
– Warhol exploited the lie that the mass media brings us closer to
the world and emphasized that viewers can only observe it as
detached voyeurs.

Pop Art (5 of 6)
– His immense body of work included the Brillo boxes, Campbell
Soup cans, and Coca-Cola bottles in the print method of
silkscreen.
 The Brillo boxes transformed the gallery space into what
looked like a grocery stock room.

Andy Warhol BRILLO SOAP PADS BOX
1964. Silkscreen print on painted wood, 17" × 17" × 14" (43.2 × 43.2 × 35.6 cm).
Collection of The Andy Warhol Museum, Pittsburgh. © 2016 The Andy Warhol Foundation
for the Visual Arts, Inc./Artists Rights Society (ARS), New York. [Fig. 33-14]

Pop Art (6 of 6)
– Roy Lichtenstein based his art on cartoon imagery, using Benday
dots from offset printing.
– Rather than a copy, Oh, Jeff... I Love You, Too... But... is formally
adjusted and tightened, pitting an overblown episode into a work
of high art.

Roy Lichtenstein OH, JEFF… I LOVE YOU, TOO… BUT…
1964. Oil and magna on canvas, 48" × 48" (122 × 122 cm).
Private collection. © Estate of Roy Lichtenstein/DACS 2016. [Fig. 33-15]

Minimalism (1 of 3)
• Previously called ABC Art or Primary Structures, minimalist art began
for the purpose of dematerializing the art object.
• Slab-like sculptures rejected the gesture and emotion invested in
handcrafted objects and traditional sculpting material.

Minimalism (2 of 3)
• Judd
– Sculptor Donald Judd turned to Minimalism, which reduced
artworks to technical essentials.
– He evolved a formal vocabulary reduced to identical rectangular
units, constructed of industrial materials, that were arranged in
rows.

Donald Judd UNTITLED
1969. Galvanized iron and Plexiglas, 10 units, each 6" × 27-1/8" × 24"
(15.24 × 68.8 × 60.96 cm), overall 120" × 27-1/8" × 24" (3.05 × 0.69 × 0.61 m).
Albright-Knox Art Gallery, Buffalo, New York. Art © Judd Foundation. Licensed by VAGA,
New York, NY. Photo © 2016. Albright Knox Art Gallery/Art Resource, NY/Scala,
Florence. [Fig. 33-16]

Minimalism (3 of 3)
• Morris
– Four wooden cubes of industrial mirror glass deflect the viewer's
eyes from finding any interest in the object itself in Morris's work
Untitled (Mirror Cube).
 The interest of this piece lies entirely in its concept, which is
interrogating the purposes and goals of the artist.

Robert Morris UNTITLED (MIRROR CUBES)
1965–1971. Mirror, plate glass, and wood, 36" × 36" × 36" (91.4 × 91.4 × 91.4 cm).
Tate, London. © 2016 Robert Morris/Artists Rights Society (ARS), New York. © Tate,
London 2016. [Fig. 33-17]

The Dematerialization of Art
• From the mid-1960s to the early 1970s, the youth of Europe and
America led civil rights movements, protests against the Vietnam War,
and environmentalist and feminist movements.
• There was a shift toward noncommodifiable and "dematerialized" art.

Conceptual Art and Language (1 of 2)
• Conceptual artists concluded that a performance or a conceptual
manifestation (sometimes in the form of instructions) qualifies as art.
• Conceptual works of art usually leave behind some visual trace, but no
object for purpose.
– Some museums now collect those "trace" objects.

Conceptual Art and Language (2 of 2)
• Joseph Kosuth (b. 1945) abandoned painting to examine the
conceptual intersection of language and vision.
– His early work was indebted to the linguistic philosophy of Ludwig
Wittgenstein.
– One and Three Chairs presents an actual chair, a photograph of a
chair, and the dictionary definition of "chair."

Joseph Kosuth ONE AND THREE CHAIRS
1965. Wooden folding chair, photograph of chair, and photographic enlargement of
dictionary definition of chair; chair, 32-3/8" × 14-7/8" × 20-7/8" (82.2 × 37.8 × 53 cm),
photo panel, 36" × 24-1/8" (91.4 × 61.3 cm), text panel 24-1/8" × 24-1/2"
(61.3 × 62.2 cm). Museum of Modern Art, New York. Larry Aldrich Foundation Fund
(383.1970 a-c). © 2016 Joseph Kosuth/Artists Rights Society (ARS), New York. © 2016.
Digital image, The Museum of Modern Art/Scala, Florence. [Fig. 33-18]

New Media (1 of 4)
• Nauman
– Bruce Nauman created 11 color photographs based on wordplay
and visual puns.
– Self-Portrait as a Fountain designates the artist as a work of art
recalling Duchamp's famous urinal; it abstracts the very idea of
what a fountain could be.

Bruce Nauman SELF-PORTRAIT AS A FOUNTAIN
1966–1967. Color photograph, 19-3/4" × 23-3/4" (50.1 × 60.3 cm).
Courtesy Leo Castelli Gallery, New York. Photo: Eric Pollitzer. © 2016 Bruce
Nauman/Artists Rights Society (ARS), New York. [Fig. 33-19]

New Media (2 of 4)
• One of Laurie Anderson's earliest performances was Duets on Ice,
which involved her telling personal stories alternated with playing violin
while wearing ice skates frozen in blocks of ice; the performance
continued until the ice melted enough to release the blades.

Laurie Anderson DUETS ON ICE
1974. Photograph of a performance in New York, 1975.
Courtesy the artist. Photo: Bob Bielecki. [Fig. 33-20]

New Media (3 of 4)
• Viola and Paik
– Video artist Bill Viola created the double projection of The
Crossing.
 One man slowly walks a great distance toward the camera,
where a rainy deluge washes him away.
 The other man is similarly and slowly engulfed by flames.
 There is only one soundtrack to inform viewers' perception.

Bill Viola THE CROSSING
1996. Two channels of color video projections from opposite sides of a large dark gallery
onto two back-to-back screens suspended from the ceiling and mounted on the floor; four
channels of amplified stereo sound, four speakers.
Height 16' (4.88 m). Courtesy Bill Viola Studio LLC. Performer: Phil Esposito. Photo: Kira
Perov. [Fig. 33-21]

New Media (4 of 4)
• Viola and Paik
– Korean-born Nam June Paik worked with modified television sets.
 Electronic Superhighway: Continental U.S. was an ensemble
of such televisions featuring a neon-outlined map of the
continental United States.

Nam June Paik ELECTRONIC SUPERHIGHWAY: CONTINENTAL U.S.
1995. Forty-seven-channel closed-circuit video installation with 313 monitors, neon, steel
structure, color, and sound, approx. 15' × 32' × 4' (4.57 × 9.75 × 1.2 m).
Smithsonian American Art Museum, Washington, DC. Gift of the artist. © Estate of Nam
June Paik. Gift of the artist. Photograph © 2016 Photo Smithsonian American Art
Museum/Art Resource/Scala. [Fig. 33-22]

Process and Materials (1 of 3)
• The reductivist approaches to Minimalism and Conceptualism had
boxed art into an absolutist corner.
• Artists who refused to eliminate personal meaning from their works
explored physicality, personality, and sensuality within the process of
making art.

• Eva Hesse utilized personal history in her Minimalist creations.
• No Title takes on a different shape and size each time it is installed.
– It consists of sections of rope dipped in latex, knotted, and hung
from wires attached to the ceiling.

Eva Hesse NO TITLE
1969–1970. Latex over rope, string, and wire; two strands, dimensions variable.
Whitney Museum of American Art, New York. Purchase, with funds from Eli and Edythe L.
Broad, the Mrs. Percy Uris Purchase Fund, and the Painting and Sculpture Committee
(88.17 a-b). © The Estate of Eva Hesse. Hauser & Wirth. Whitney Museum of American
Art, New York. Photo: Geoffrey Clement. [Fig. 33-23]

• Arte Povera
– This term encompasses art that incorporates ordinary, everyday
materials as well as the Italian artists who practiced it.
– Pink-Blue-Pink by Gilberto Zorio is an industrial pipe that was filled
with cobalt chloride paste that, when subjected to changes in
humidity, may vary in color across its segments.

Gilberto Zorio PINK-BLUE-PINK
1967. Semicylinder filled with cobalt chloride,
11-7⁄8" × 112-1⁄4" × 6″ (30 × 285 × 15 cm).
Galleria Civic D'Arte Moderna e Contemporanea, Torino, Italy. Purchased by the
Fondazione Guido ed Ettore De Fornaris from Pier Luigi Pero, Turin, 1985. © 2016 Artists
Rights Society (ARS), New York/SIAE, Rome. Photo: Fotografico Studio Gonella, 2006.
[Fig. 33-24]

Earthworks (1 of 3)
• Sculptors working outdoors used materials found at sites to fashion
earthworks.
• Some of these works were available for a limited audience based on
their remote location, while others were public.

Earthworks (2 of 3)
• Robert Smithson's Spiral Jetty illustrated the "ongoing dialectic"
between constructive and destructive forces of nature.
– He hoped the algae living in the Great Salt Lake would cause it to
erode and disappear.
– It is now covered with crystallized salt and can be seen on Google
Earth.

Robert Smithson SPIRAL JETTY
1969–1970. Mud, precipitated salt crystals, rocks, and water.
Great Salt Lake, Utah. Photo Gianfranco Gorgoni. Courtesy James Cohan Gallery, New
York. Art © Holt-Smithson Foundation/Licensed by VAGA, New York, NY. [Fig. 33-25]

Earthworks (3 of 3)
• Christo and Jeanne-Claude created site-specific sculptures.
– The Gates, Central Part, New York, 1979–2005 consisted of a 23
mile installation of 7,503 saffron-colored nylon panels and lasted
for only 16 days.
 It took 26 years to realize.

Christo and Jeanne-Claude THE GATES, CENTRAL PARK, NEW YORK,1979–2005.
1979–2005. Shown here during its installation in 2005.
© 2016 Christo and Jeanne-Claude. Photo: Wolfgang Volz. [Fig. 33-26]

Feminist Art (1 of 2)
• Feminists challenged the idea that great art was made by men.
– Women were rarely mentioned in art history despite their
contributions; when they were, their achievements were labeled as
"crafts" as opposed to "fine arts."
• Second-wave feminist art defined gender in relativist terms.

Feminist Art (2 of 2)
• Third-wave feminist art emerged in the 1990s and addressed an
expanded range of issues.
– Artists explored discrimination inherent in gender and class, race,
violence, postcolonialism, and trangenderism.

Chicago and Schapiro (1 of 4)
• Miriam Schapiro and Judy Chicago established the Feminist Art
Program at the California Institute of the Arts.
• Schapiro believed in an explicitly feminine aesthetic, exhibited in her
Personal Appearance #3.
– She called the technique fem mage.
– Formal and emotional richness was meant to counter male
aesthetic.

Miriam Schapiro PERSONAL APPEARANCE #3
1973. Acrylic and fabric on canvas, 60" × 50" (152.4 × 127 cm).
Private collection. Photo: Robert Hickerson. [Fig. 33-27]

• Judy Chicago's The Dinner Party is a complex, mixed-media
installation filling an entire room with proclamations of the
accomplishments of women throughout history.
– A large, triangular table displays place settings with 13 notable
women on each side.
– China painting and needlework draw on the tradition of women
crafters.

Judy Chicago THE DINNER PARTY
1974–1979. Overall installation view. White tile floor inscribed in gold with 999 women's
names; triangular table with painted porcelain, sculpted porcelain plates, and needlework,
each side 48' × 42' × 3' (14.6 × 12.8 × 1 m).
Brooklyn Museum of Art, New York. Gift of the Elizabeth A. Sackler Foundation
(2002.10). Photo ©Donald Woodman/Through the Flower. © 2016 Judy Chicago/Artists
Rights Society (ARS), New York. [Fig. 33-28a]

Judy Chicago THE DINNER PARTY
Georgia O'Keeffe place setting, detail of The Dinner Party.
Photo ©Donald Woodman/Through the Flower. © 2016 Judy Chicago/Artists Rights
Society (ARS), New York. [Fig. 33-28b]

• Ana Mendieta
– Cuba-born Ana Mendieta produced over 200 body works in which
she "planted" herself in the earth and filmed her performances.
– Her works celebrate the notion that women have a deeper
identification than men with nature.

Ana Mendieta UNTITLED, FROM THE TREE OF LIFE SERIES
1977. Color photograph, 20" × 13-1/4" (50.8 × 33.7 cm).
© Estate of Ana Mendieta Collectio, LLC. Courtesy Galerie Lelong, New York. [Fig. 33-29]

• Mary Kelly
– Post-Partum Document tracks the artist's relationship with her son
for six years after his birth.
 It incorporates Marxism, feminist philosophy, and
psychoanalytic theory across its 135 objects, serving both as a
work of art and a record of her son's most notable moments.

Mary Kelly POST-PARTUM DOCUMENT
1975. Documentation III, Analysed Markings and Diary-perspective Schema. Perspex
unit, white card, sugar paper, crayon. 1 of 13 units, 14 × 11″ (35.3 × 28 cm). Tate Modern,
London. Courtesy Susanne Vielmetter Los Angeles Projects. [Fig. 33-30]

Architecture: Mid-Century Modernism
to Postmodernism
• After World War II, the International Style dominated urban
construction.
• Modernist architecture came to stand for corporate power and wealth
through its utopian and revolutionary aspects.
• Several European International Style architects moved to the United
States and trained generations of architects.

Mid-Century Modernist Architecture
(1 of 2)
• Ludwig Mies van der Rohe escaped Nazi Germany and assumed
prestigious positions at American schools.
– With Philip Johnson, he designed the Seagram Building to be
made with bronze instead of standardized steel.
 Tall, narrow windows emphasize the building's height and give
it a discreet, dignified image.

Ludwig Mies van der Rohe and Philip Johnson SEAGRAM BUILDING, NEW YORK
1954–1958. Photo: Andrew Garn. © 2016 Artists Rights Society (ARS), New York/VG
Bild-Kunst, Bonn. [Fig. 33-31]

Mid-Century Modernist Architecture
(2 of 2)
• Saarinen's Trans World Airlines (TWA) Terminal at John F. Kennedy
Airport breaks out of the rectilinear forms of the International Style.
• Frank Lloyd Wright's design of the Guggenheim Museum in New York
took on an organic spiral shape.
– The interior maintains an intimate "living room" atmosphere.

Eero Saarinen TRANS WORLD AIRLINES (TWA) TERMINAL, JOHN F. KENNEDY
AIRPORT, NEW YORK
1956–1962.
Photo © Karen Johnson. [Fig. 33-32]

Frank Lloyd Wright SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK
1943–1959. The large building behind the museum is a later addition, designed in 1992
by Gwathmey Siegel and Associates. Photo © Andrew Garn. © 2016 Frank Lloyd Wright
Foundation, Scottsdale, AZ/Artists Rights Society (ARS), NY. [Fig. 33-33]

Postmodern Architecture (1 of 2)
• Robert Venturi incorporated design elements drawn from vernacular
buildings in a parody of van der Rohe's aphorism.
– He designed a house for his mother, the façade of which returns to
the archetypal "house" shape.
 Deep cleavage over the door reveals a mysterious upper wall
and chimney top.
 The interior is equally complex.

Robert Venturi FAÇADE, VANNA VENTURI HOUSE, CHESTNUT HILL
Philadelphia, Pennsylvania. 1961–1964.
Venturi, Scott Brown Collection. © The Architectual Archives, University of Pennsylvania.
Photo: Matt Wargo. [Fig. 33-34a]

PLAn. VANNA VENTURI HOUSE, CHESTNUT HILL
Philadelphia, Pennsylvania. 1961–1964.
Venturi, Scott Brown Collection. © The Architectural Archives, University of Pennsylvania.
[Fig. 33-34b]

Postmodern Architecture (2 of 2)
• The AT&T Corporate Headquarters (now Sony Building) bears
resemblance to the shape of an eighteenth-century chest of drawers
known as a Chippendale highboy.
– The round notch at the top of the building and the rounded
entryway at its base suggest the coin slot and coin return of an old
pay telephone.

Philip Johnson and John Burgee AT&T CORPORATE HEADQUARTERS, NEW YORK
1978–1983.
© Mathias Beinling/Alamy Stock Photo. [Fig. 33-35]

Postmodernism
• The generation of artists maturing around 1970 accepted pluralism of
trends.
• The decline of Modernism was gradual and resulted from many
individual transformations.
• The variety of new approaches to art is characterized under the
umbrella term, "Postmodernism."

Painting (1 of 2)
• Anselm Kiefer shows a burned and barren landscape in Heath of the
Brandenberg March, a painting with a road leads the viewer to ponder
the dark past of the Brandenberg area.

Anselm Kiefer HEATH OF THE BRANDENBURG MARCH
1974. Oil, acrylic, and shellac on burlap, 3'10-1/2" × 8'4" (1.18 × 2.54 m).
Collection Van Abbemuseum, Eindhoven, The Netherlands © Anselm Kiefer. © Anselm
Kiefer, Courtesy Gagosian Gallery. Photo: Peter Cox, Eindhoven, The Netherlands.
[Fig. 33-36]

Painting (2 of 2)
• Jean-Michel Basquiat's canvases grew out of graffiti art.
– He participated in the "Times Square Show," which showcased
raw and aggressive styles of subway and graffiti artists.
– Horn Players conveys legendary jazz musicians and a
determination to portray African Americans unsentimentally.

Jean-Michel Basquiat HORN PLAYERS
1983. Acrylic and oil paintstick on canvas, three panels,
overall 8' × 6'5" (2.44 × 1.91 m).
Broad Art Foundation, Santa Monica, California. © The Estate of Jean-Michel
Basquiat/ADAGP, Paris/ARS, New York 2016. [Fig. 33-37]

Appropriation, Identity, and Critique
(1 of 6)
• Jeff Koons's works that enshrine kitschy household objects are a sly
reference to Duchamp.
– Pink Panther shows a nearly life-size pinup figure embracing the
cartoon character in an unsettling manner.

Jeff Koons PINK PANTHER
1988. Porcelain, ed. 1/3. 41 × 20-1/2 × 19" (104.1 × 52.1 × 48.3 cm).
Collection Museum of Contemporary Art, Chicago. © Jeff Koons. Photography ©
Museum of Contemporary Art, Chicago. [Fig. 33-38]

(2 of 6)
• Sherrie Levine directly appropriated Walker Evans's work from the
photograph series produced for the Farm Security Administration.
– After Walker Evans: 4 claims a male artist's catalog for Levine
herself to draw attention how the subjects were used for personal
artistic and commercial gain.

Sherrie Levine AFTER WALKER EVANS: 4
1981. Gelatin-silver print, 5-1⁄16 × 3-7⁄8″ (12.8 × 9.8 cm).
Metropolitan Museum of Art, New York. Gift of the artist, 1995.
© Sherrie Levine Courtesy Simon Lee Gallery. © Walker Evans Archive, The Metropolitan
Museum of Art. © 2016. Image copyright The Metropolitan Museum of Art/Art
Resource/Scala, Florence. [Fig. 33-39]

(3 of 6)
• Feminism and Appropriation
– Barbara Kruger uses black-and-white photographs in conjunction
with red three-color printing to create her works.
– Untitled (Your Gaze Hits the Side of My Face) makes the
relationship between viewer and subject personal.
 By subverting the subject's gaze, the work draws attention to
power struggles.

Barbara Kruger UNTITLED (YOUR GAZE HITS THE SIDE OF MY FACE)
1981. Photograph, red painted frame, 55" × 41" (140 × 104 cm).
Mary Boone Gallery, New York. © Barbara Kruger. Courtesy Mary Boone Gallery, New
York. [Fig. 33-40]

(4 of 6)
– Each New York based Guerrilla Girl took on a pseudonym of a
famous dead woman artist and wore a gorilla mask to hide her
identity.
 They revealed gender and racial inequalities in the art world
and fought for the rights of artists who were discriminated
against.
 Posters distributed their message.

Guerrilla Girls THE ADVANTAGES OF BEING A WOMAN ARTIST
1988. Offset print, 17" × 22" (43.2 × 55.9 cm).
Collection of the artists. © Guerrilla Girls. www.guerrillagirls.com. [Fig. 33-41]

(5 of 6)
– Cindy Sherman (b. 1954) worked on a series of black-and-white
photographs modeled on publicity stills from twentieth-century B
movies.
 The picture shown depicts a "small-town girl" threatened by
looming city buildings.

(6 of 6)
– Cindy Sherman (b. 1954) worked on a series of black-and-white
photographs modeled on publicity stills from twentieth-century B
movies.
 Sherman assumes the role of both photographer and subject,
subverting the stereotypical gaze upon women.

Cindy Sherman UNTITLED FILM STILL #21
1978. Black-and-white photograph, 8" × 10" (20.3 × 25.4 cm).
Courtesy of the artist and Metro Pictures. [Fig. 33-42]

Identity Politics and the Culture Wars
(1 of 3)
• Luna
– James Luna's The Artifact Piece was a performance in which the
artist lay in a glass display case in a manner similar to a traditional
ethnographic exhibition.
– His physical objectification of his own body challenges the
viewer's stereotypes, prejudices, and assumptions about Native
Americans.

James Luna THE ARTIFACT PIECE
First staged in 1987 at the Museum of Man, San Diego.
Luna also performed the piece for "The Decade Show," 1990, in New York. Courtesy
James Luna. [Fig. 33-43]

(2 of 3)
• Lorna Simpson's Stereo Styles arranges Polaroid images of African-
American women from behind and describes their hairstyles.
– The work challenges viewers to see these women as more than
their stereotypes and highlights the role that hair plays in
indicating race, gender, and class.

Lorna Simpson STEREO STYLES
1988. Ten black-and-white Polaroid prints and ten engraved plastic plaques,
5'4" × 9'8" (1.63 × 2.95 m) overall.
Private collection. Courtesy of the artist. [Fig. 33-44]

(3 of 3)
• African American Faith Ringgold painted on soft fabrics and decorated
quilts.
– Tar Beach recalls the roof of an apartment building where
Ringgold's family slept on hot summer nights.
 It reminds viewers of the real social and economic limitations
faced by African Americans throughout history.

Faith Ringgold TAR BEACH
Part I from the “Women on a Bridge” series. 1988. Acrylic on canvas, bordered with
printed, painted, quilted, and pieced cloth, 74-5/8" × 68-1/2" (190.5 × 174 cm).
Soloman R. Guggenheim Museum, New York. Gift of Mr. and Mrs. Gus and Judith Lieber.
© Faith Ringgold. [Fig. 33-45]

Controversies over Funding for the Arts
(1 of 3)
• Mapplethorpe, who had recently died of AIDS, had his exhibition of
several homoerotic and sadomasochistic photographs canceled.

(2 of 3)
• Piss Christ explores social taboos in deliberately offensive ways.
– Other works by Serrano included photographs of the homeless,
Ku Klux Klansmen, suicides, and murder victims; some were so
scandalizing to viewers that they were vandalized.

Andres Serrano PISS CHRIST
1989. Cibachrome print mounted on Plexiglas, 23-1/2" × 16" (59.7 × 40.6 cm).
© Andres Serrano/Courtesy of the artist and Yvon Lambert Paris, New York. [Fig. 33-46]

(3 of 3)
• The Holy Virgin Mary was created using elephant dung.
– Ofili explained that African nations have a tradition of using
salvaged objects in both popular and high art and that his use of
elephant dung connects Madonna to the notion of fertility.

Chris Ofili THE HOLY VIRGIN MARY
1996. Acrylic, oil paint, polyester resin, paper collage, glitter, map pins, and elephant
dung on linen, 7'11" × 5'11-5/16" (2.44 × 1.83 m).
MONA, Museum of Old and New Art, Hobart, Tasmania, Australia.
© Chris Ofili. Courtesy the Artist and Victoria Miro Gallery, London. [Fig. 33-47]

Public Art (1 of 2)
• Richard Serra was commissioned to create the sculpture Tilted Arc for
a plaza in New York.
– Once it was installed, it rendered the public space nonfunctional.
– Graffiti and pigeon droppings covered the work and it was moved
to a parking lot over outrage, thus destroying the site-specific
nature of the piece.

Richard Serra TILTED ARC
1981–1989. Jacob K. Javitz Federal Plaza, New York.
Steel. Destroyed.
© 2016 Richard Serra/Artists Rights Society (ARS), New York. Photo: David Aschkenas.
[Fig. 33-48]

Public Art (2 of 2)
• Maya Ying Lin's Vietnam Veterans' Memorial called for two 200-foot-
long walls sunk into rising ground.
– It accommodates more than 58,000 names of deceased soldiers in
the order in which they died.

Maya Lin VIETNAM VETERANS MEMORIAL, WASHINGTON, DC
1981–1983
© Frank Fournier. [Fig. 33-49]

High Tech and Deconstructivist
Architecture (1 of 2)
• Computer-aided design (CAD) programs transformed architecture and
architectural practice in the 1980s and 1990s.
• Three-dimensional tools enabled the virtual design of function and
enabled experimentation with new forms, technology, and materials.

High Tech Architecture
• These buildings are characterized by extravagant use of new
technologies, materials, and equipment as well as visible display of
service systems.
• The Hong Kong & Shanghai Bank features uninterrupted rows of
windows with its load-bearing steel skeleton on the outside.

Norman Foster HONG KONG & SHANGHAI BANK, HONG KONG
1986.
© Arcaid Images/Alamy Stock Photo. [Fig. 33-50]

Deconstructivist Architecture
• Architects in this style deliberately create "decentered" and distorted
designs.
• The Vitra Fire Station has reinforced concrete walls that lean into each
other and meet at unexpected angles.
– It creates a feeling of immediacy, speed, and dynamism
associated with the fire station's function.

High Tech and Deconstructivist
Architecture (2 of 2)
• Deconstructivist Architecture
– Frank Gehry developed an organic, sculptural style exemplified in
the Guggenheim Museum in Bilbao, Spain.
 The steel skeleton is draped with silvery titanium and
resembles a giant ship when viewed from the north.

Frank O. Gehry GUGGENHEIM MUSEUM, BILBAO
Spain. 1993–1997.
Sculpture of a spider in the foreground: Louise Bourgeois (1911-2010), Maman, 1999. ©
AAD Worldwide Travel Images/Alamy Stock Photo. [Fig. 33-52]

Contemporary Art in an Expanding
World
• Contemporary artists explore alternative practices, ideas, and formats
that emerged in the second half of the twentieth century.
• International exhibitions offer curators a global stage to explore broad
themes and changing ideologies.

Globalization and the Art World (1 of 3)
• Postcolonial art began to address issues of contested identity and the
identity struggle of postcolonial peoples.
• It also investigated the dissonance produced by transnational
(mis)communication between colonizers and the postcolonized.

• Iranian Shirin Neshat asserts that Islamic women's identities are more
varied and complex than what is frequently perceived.
– Rebellious Silence shows a woman wearing a traditional chador
with a face written over with Farsi calligraphy, bisected by a rifle
barrel.

Shirin Neshat REBELLIOUS SILENCE
1994. Black-and-white RC print and ink (photograph by C. Preston),
11" × 14" (27.9 × 35.6 cm).
Barbara Gladstone Gallery, New York. © Shirin Neshat. Courtesy Gladstone Gallery.
[Fig. 33-53]

• Wenda Gu's China Monument: Temple of Heaven blends the hair of
people from many different nations into characters from Chinese,
English, Hindi, and Arabic languages.
– Other works by this artist are "national" monuments made from
hair collected in, and addressing issues specific to, a particular
country.

Wenda Gu CHINA MONUMENT: TEMPLE OF HEAVEN
1998. Installation with screens of human hair, wooden chairs and tables, and video.
Commissioned by the Asia Society. Permanent collection of the Hong Kong Museum of
Art. © Wenda Gu. Photo by Jiang Min. [Fig. 33-54]

The Body in Contemporary Art (1 of 8)
• In the 1990s, anger over the agony of those dying from, and losing
friends and lovers to, AIDS, combined with government inaction,
spilled over into art.
• The Culture Wars documented artists searching for a place and
identity in the world.

• The Impact of AIDS on Art
– Felix Gonzalez-Torres created "Untitled" (Loverboy) as an allegory
of the slowly disappearing body of his lover, who was dying of
AIDS.
 Viewers were instructed to take a sheet of paper from a stack
as they walked by, thus depleting the paper.

Felix Gonzalez-Torres "UNTITLED" (LOVERBOY)
1990. Blue paper, endless supply, 7-1/2 × 29 × 23” (19.1 × 73.7 × 58.4 cm).
Installation view at Andrea Rosen Gallery, New York, 1990.
© The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York.
Photo: Peter Muscato. [Fig. 33-55]

– Before dying of AIDS in 1992, David Wojnarowicz created
aggressive art about the fear of watching a loved one die while
facing his own mortality.
– Untitled (Hands) shows two bandaged hands outstretched in a
begging gesture with text from the artist's book superimposed in
red.

David Wojnarowicz "UNTITLED (HANDS)"
1992. Silver print with silkscreened text, 38" × 26" (96.5 × 66 cm).
Courtesy of the estate of David Wojnarowicz and PPOW Gallery, New York. [Fig. 33-56]

– The AIDS Memorial Quilt is an ongoing project in the tradition of
community quilts, created by friends, families, and lovers to honor
LGBT individuals who lost their lives.

THE AIDS MEMORIAL QUILT
1987–present. Photograph taken at the Mall, Washington DC on October 12, 1996.
© Evan Agostini/Getty Images. [Fig. 33-57]

• The Material Body
– Untitled by Kiki Smith shows two life-size naked figures, female
and male, made from flesh-colored painted beeswax and hanging
passively off the ground.

Kiki Smith UNTITLED
1990. Beeswax with microcrystalline wax figures on metal stands, female figure installed
height 6'1-1/2" (1.87 m), male figure 6'4-15/16" (1.95 m).
Whitney Museum of American Art, New York. © Kiki Smith, courtesy The Pace Gallery.
Photo: Johansen Krauseand. [Fig. 33-58]

– Bodily fluids fall from them in a humiliating display as the piece
contemplates what it means to have control over one's body and
to lose control closer to death.

– Damien Hirst was considered one of the most outrageous
members of the Young British Artists.
– His work Mother and Child (Divided) presents the bisected bodies
of a cow and her calf in a glass display case, preserved with
alarming detail.

Damien Hirst MOTHER AND CHILD (DIVIDED), EXHIBITION COPY 2007 (ORIGINAL
1993)
2007. Glass, painted stainless steel, silicone, acrylic, monofilament, stainless steel, cow,
calf, and formaldehyde solution, two tanks at 82-1/3" × 126-7/8" × 43"
(209 × 322 × 109 cm), two tanks at 45" × 66-1/2" × 24-5/8" (114 × 169 × 62.5 cm).
Prudence Cuming Associates. © Damien Hirst and Science Ltd. All rights
reserved/DACS, London/ARS, NY 2016. © Tate, London 2016. [Fig. 33-59]

– Matthew Barney created Cremaster 3: Mahabyn, a film wherein
the artist and a leopard woman transform into Masons, as part of a
cycle addressing the identity crisis experienced by white, middle-
class, heterosexual male artists.

Matthew Barney CREMASTER 3: MAHABYN
2002. 46-1/2 × 54 × 1-1/2" (118 × 137 × 3.8 cm).
© Matthew Barney, courtesy Barbara Gladstone Gallery (Part of the Cremaster Cycle
1994–2002). Photo: Chris Winget. [Fig. 33-60]

New Approaches to Painting and
Photography (1 of 4)
• Gerhard Richter rejected the idea of an artist adopting a single
personal style.
– Man Shot Down (1) Erschossener (1) from October 18, 1977
belonged to a series of paintings copying photographs of three
members of the Red Army Faction who were found dead in their
prison cells.

Gerhard Richter MAN SHOT DOWN (1) ERSCHOSSENER (1) FROM OCTOBER 18,
1977
1988. Oil on canvas, 39-1/2" × 55-1/4" (100 × 140 cm).
Museum of Modern Art, New York. The Sidney and Harriet Janis Collection, gift of Philip
Johnson, and acquired through the Lillie P. Bliss Bequest (all by exchange); Enid A.
Haupt Fund; Nina and Gordon Bunshaft Bequest Fund; and gift of Emily Rauh Pulitzer
(169.1995.g.). © Gerhard Richter. [Fig. 33-61]

• Artist Jeff Wall uses digital photographs and stage sets in an attempt to
recall history paintings of the nineteenth century.
– After "Invisible Man" by Ralph Ellison, the Preface illustrates a
passage from the novel about an African-American man's search
for fulfillment.

Jeff Wall AFTER "INVISIBLE MAN" BY RALPH ELLISON, THE PREFACE
1999–2001. Transparency in lightbox, 68-1/2" × 98-5/8" (174 × 250.5 cm).
Courtesy Marian Goodman Gallery. [Fig. 33-62]

• Many Mansions by Kerry James Marshall is a wry, ironic commentary
on race, class, and poverty in American society that features three
African-American men in a scene referring to the decrepit Stateway
Gardens, Chicago.

Kerry James Marshall MANY MANSIONS
1994. Acrylic on paper mounted on canvas, 114-1/4" × 135-1/8" (290 × 343 cm).
The Art Institute of Chicago. Max V. Kohnstamm Fund (1995.147). Image courtesy of the
artist and Jack Shainman Gallery, NY. Photo © The Art Institute of Chicago. [Fig. 33-63]

• Ethiopian-born Julie Mehretu creates highly-finished paintings of
complex systems drawing from architectural drawings, maps, graffiti,
and aerial photographs.
– Stadia II captures the atmosphere of athletic events.

Julie Mehretu STADIA II
2004. Ink and acrylic on canvas, 107-3⁄8 × 140-1⁄8 × 2-1⁄4″ (272.73 × 355.92 × 5.71 cm).
Collection of Carnegie Museum of Art, Pennsylvania. Gift of Jeanne Greenberg Rohatyn,
Nicolas Rohatyn and A. W. Mellon Acquisition Endowment Fund. © Julie Mehretu.
Courtesy Marian Goodman Gallery. Photo by Richard Stoner. [Fig. 33-64]

The New Formalism (1 of 6)
• This contemporary aesthetic draws on renewed interest in an artist's
materials and process.
• Craft and Craftsmanship
– Martin Puryear's Plenty's Boast features visible joints and natural
materials, drawing beauty and wonderment of form.

A CLOSER LOOK: Plenty's Boast by Martin Puryear
1994–1995. Red cedar and pine.
68" × 83" × 118" (172.7 × 210.8 × 299.7 cm).
The Nelson-Atkins Museum of Art, Kansas City, Missouri, Purchase of the Renee C.
Crowell Trust (F95-16 A-C). © Martin Puryear. Courtesy Matthew Marks Gallery, New
York. [Fig. 33-65]

– Untitled represents a satirical American flag with colors from the
Pan-African flag that was created in 1920.
 Red stands for blood that unites all people of African descent,
and black stands for the symbolic nation of black people.
 Green stands for the verdant lands of Africa.

David Hammons UNTITLED
2004. Nylon, 6' × 10' (1.82 × 3 m).
Studio Museum, Harlem. Gift of the artist (04.2.19). Studio Museum in Harlem. Photo:
Marc Bernier. [Fig. 33-66]

– History of the Main Complaint by South African Artist William
Kentridge is an animated film retaining its physical markings that
appear and disappear through each scene.

William Kentridge HISTORY OF THE MAIN COMPLAINT
1996. Stills. Film, 35 mm, shown as video, projection, black and white, and sound
(mono), 5 min. 50 sec.
Courtesy Marion Goodman Gallery, New York. [Fig. 33-67]

• Immersive Installation
– Ann Hamilton uses sensual materials, audiovisual elements, and
live performers to evoke emotional and physical responses from
viewers.
 Myein is itself a term that translates to "to close the eyes or
mouth," referring at once to medieval cult initiation practices
and the perceptual distortion of time.

Ann Hamilton MYEIN
1999. Installation at the United States Pavilion, 48th Venice Biennale, 1999.
© Ann Hamilton. [Fig. 33-68]

– Kara Walker aims to shock and horrify with her large-scale
silhouettes of figures cut from black construction paper.
 In Darkytown Rebellion, she shows a slave revolt and
massacre swirling with projected lights.
 She catches viewers in the act of being racist.

Kara Walker DARKYTOWN REBELLION
2001. Cut paper and projection on wall, 14' × 37' (4.3 × 11.3 m) overall.
Installation view of “Kara Walker: My Complement, My Enemy, My Oppressor, My Love,”
Walker Art Center, Minneapolis, 2007. Collection Musée d’Art Moderne Grand-Duc Jean
(MUDAM), Luxembourg. © Kara Walker/Courtesy of Sikkema Jenkins & Co., New York.
Photo: Dave Sweeney. [Fig. 33-69]

– The Weather Project was based on the notion that weather is one
true way that city dwellers interact with nature.
 The installation's vast size and simple beauty were meant to
overwhelm the viewer, as Romantic landscapes had so done
previously.

Olafur Eliasson THE WEATHER PROJECT
2004 installation, Turbine Hall, Tate Modern, London.
© Olafur Eliasson. Photo: Jens Ziehe. Courtesy of the artist; neugerriemschneider, Berlin;
Tanya Bonaker Gallery, New York. [Fig. 33-70]

Activist Strategies and Participatory Art
(1 of 3)
• Homeless Vehicle was designed in collaboration with the homeless in
New York as "an instrument of survival for urban nomads."
– The work sought to make homelessness visible not by evoking
pity, but by actually helping the homeless.
– New York city authorities felt the carts made the homeless too
visible.

Krzysztof Wodiczko HOMELESS VEHICLE
1988–1989. Aluminum and mixed media.
Variant 3 of 4, pictured at Trump Tower, New York. © Krzysztof Wodiczko. © Krzysztof
Wodiczko. Courtesy Galerie Lelong, New York. [Fig. 33-71]

(2 of 3)
• Rachel Whiteread casted the inverse of everyday objects to reveal the
ghostliness of their absence.
– House was meant to show how memories are contained in places
and times and can easily be destroyed.
 It brought up issues of homelessness and the cost of urban
renewal.

Rachel Whiteread HOUSE
1993. Corner of Grove and Roman Roads, London. 1993. Concrete. Destroyed 1994.
Commissioned by Artangel. Received the Turner Prize, Tate Britain, London. © Rachel
Whiteread; Courtesy of the artist, Luhring Augustine, New York, Lorcan O'Neill, Rome,
and Gagosian Gallery. © Artangel. Photo: Sue Ormerod. [Fig. 33-72]

(3 of 3)
• Patricia Cronin aims to bring about behavioral change through raising
awareness about themes of homosexuality, feminism, and art history.
– Shrine for Girls was held in the church of San Gallo, contrasting
sixteenth-century altars with photographs of young girls who were
victims of violent rapes and murders.

Patricia Cronin SHRINE FOR GIRLS
2015. Installation at Chiesa di San Gallo, Campo San Gallo, solo Collateral Event at the
56th Venice Biennale. [Fig. 33-73]

The Future of New Media
• Art today can be created from biological and genetic components,
robotics, augmented and virtual reality, data visualization, and web-
based platforms.
• Flower allows the viewer to play as the wind and navigate through a
lush landscape in an endless and free manner.

Jenova Chen and Kellee Santiago FLOWER
2007. Video game for SONY PS3, color, sound.
Smithsonian American Art Museum, Washington, DC. Gift of Thatgamecompany.
© 2016. Photo Smithsonian American Art Museum/Art Resource/Scala, Florence.
[Fig. 33-74]

Think About It (1 of 2)
• How did the emergence of Pop Art and Minimalism in the early 1960s
reflect cultural changes in the postwar United States? Compare and
contrast works associated with each movement.
• In what ways have artists built on the experimental art formats and
practices that emerged in the 1950s and 1960s? Choose an example
made after 1980 and discuss its relationship to an artistic development
in the mid twentieth century.

Think About It (2 of 2)
• Discuss the changing role of the viewer in art since the 1950s. Choose
two examples from this chapter and compare how they engage the
viewer.
• Explain the effect of globalism on art today. What are some of the
themes, styles, and characteristics that reflect this influence?

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