Quiz 1 study slides Contemporary Art For each artwork, be able to Identify it: Artist’s full name and nationality, title, date within 5 year range, medium, art movement Explain in short essay: In both form and content, how this artwork is representative of its time and place, and why it is historically significant.

Jean Fautrier (French, 1898-1964), Head of a Hostage #1, 1944, oil and pigments on paper mounted on canvas, 25 x 21,” in the National Gallery of Art, Osaka

Hans Namuth, photographs and film stills of Pollock Painting, 1951

Jackson Pollock, Number 1, 1950 (Lavender Mist),1950, oil, enamel, and aluminum on canvas, 7 ft 3 in x 9 ft 10 in, National Gallery of Art

Mark Rothko, No. 14, 1960, o/c, 114 x 105 in. SFMoMA

Helen Frankenthaler (US, 1928 - 2011), Mountains and Sea, 1952, charcoal and oil on unprimed canvas, 7’2” x 9’9” “Post-Painterly abstraction,” “Color Field Painting” Greenbergian Formalism

Allan Kaprow (US, 1927-2006), 18 Happenings in 6 Parts, Reuben Gallery, NYC, 1959 Art News, October 1958, published Allan Kaprow’s article, "The Legacy of Jackson Pollock,” which was an analysis of Pollock's work and a meditation on the meaning of Pollock’s death (1956) for the painting avant-garde.

Saburo Murakami, Gutai perfomance: Smashing Through (21 panels of 42 papers) second Gutai exhibition, Tokyo, 1956 Internationally, performance art of the post-WW II era came out of painting.

Robert Rauschenberg, Bed, 1955 Robert Rauschenberg, Bed, 1955. Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports, 6' 3“x 31” x 8" horizontal production with vertical display, like Pollock. Neo-Dada Detail of Bed: iconoclastic, scatological treatment of paint, an anti-aesthetic, abject, post-Abstract Expressionist parody of gesture painting. “Paint” includes toothpaste and nail polish.

“It was as though the painter standing in front of the canvas, brush in hand, found that what was on the end of that brush was no longer a medium of wordless expression: it was art history, art criticism, art theory, concepts … words.” Charles Harrison, “Conceptual Art, the Aesthetic and the End(s) of Art” Jasper Johns, False Start, 1959, oil on canvas, 67 1/4 x 54“ Conceptual Painting

James Rosenquist (USA, b James Rosenquist (USA, b. 1933) F-111, installation, oil on canvas and aluminum, 23 sections, 10 x 86 feet, 1964-5, NYC Museum of Modern Art collection. Exhibited at the NY Metropolitan MA in 1968 with other famous political paintings like Jacques Louis David’s Death of Socrates

Nam June Paik Global Groove, 1974 Paik in studio of WGBH, which broadcast Global Groove 'This is a glimpse of a video landscape of tomorrow when you will be able to switch on any TV station on the earth and TV guides will be as fat as the Manhattan telephone book.' - Paik

1. 16 Joseph Beuys, Felt Suit, 1970. Edition of 100 1.16 Joseph Beuys, Felt Suit, 1970. Edition of 100. Two lifesize felt suits. Courtesy Ronald Feldman Fine Arts, New York. Joseph Beuys, Felt Suit, 1970. Edition of 100. Two life-size felt suits

Robert Morris, Green Gallery Installation 1.6 Robert Morris, Green Gallery Installation. Seven painted plywood sculptures at the Green Gallery, New York, 1964. Varying dimensions. Courtesy Leo Castelli Gallery, New York. Robert Morris, Green Gallery Installation Seven painted plywood sculptures at the Green Gallery, New York, 1964

Sol LeWitt, Wall Drawing No Sol LeWitt, Wall Drawing No. 681 C / A, 1993 Instructions: wall divided vertically into four equal squares separated and bordered by black bands. Within each square, bands in one of four directions, each with color ink washes superimposed, 120 x 444 in. Conceptual art

Lygia Clark, Machine Animal (Bicho), 1962, aluminum, 55x65, Sao Paulo Post-Minimalism