Quiz questions for Tuesday: Define “Minimalism” by explaining the “minimalist” form and content of one work of art. Fully identify the artwork. (5 minutes) 2) Respond to the question, “Why has photography moved from the margin to the center of contemporary art in the last 40 years?” Use specific, fully identified examples, including one comparison of modern and postmodern photography and say precisely what is so “modern” and “postmodern” about each in form and content. (20 minutes)

Photography out of Conceptual (Pop & Minimal, and performance) Art Why has photography moved from the margin to the center of contemporary art in the last 40 years? Barbara Kruger Untitled (You are Not Yourself), 1981

Installation view of the 1970 Information exhibition, MoMA NYC, which marks the institutional “success” of text-based Conceptual art documented by photographs.

Joseph Kosuth, One and Three Chairs, 1965, wooden folding chair, photographic copy of a chair and photographic enlargement of a dictionary definition of a chair

Gilbert and George, The Singing Sculpture, 1970, photograph of performance (Gilbert Proesch, b.1943, Italy; George Passmore, b. 1942, England). “Banal” photographic documentation of ephemeral works, like this “living sculpture.” Gilbert & George with Ginkgo series, British pavilion Venice Biennale 2005, This series was included in the 2008 San Francisco G & G retrospective.

Denis Oppenheim, Reading Position for Second Degree Burn, 1970, Stage 1 and Stage 2, book, skin, solar energy, exposure time 5 hours, Jones Beach, New York, color photography and collage, 216 x 152 cm . Photographs “were there simply to indicate a radical art that had already vanished….necessary only as a residue for communication.”

Bruce Nauman, Eating My Words, and Self-Portrait as a Fountain, from Eleven Color Photographs, 1966/67-70, chromogenic color print / performed for the camera only

John Baldessari (United States, b John Baldessari (United States, b. 1931) (“Father” of Pictures Generation”) (left) Wrong, 1966-68, acrylic, photo-emulsion on canvas, 59 x 45 in. (right) Astronauts and Businessmen, 1988 , photograph with applied paint, Museum of Fine Art, Houston

Ed Ruscha (U.S. b. 1937), Flying A, Kingman, Arizona, from Twentysix Gasoline Stations, 1963, photographic book, sold for $3.50 Minimalist and California Pop (anti)aesthetic: serial repetition and deadpan view of contemporary reality Book cover

Through his deliberate lack of style, Ruscha draws attention “to the estranged relationship of people to their rural environment, but without staging or dramatizing the estrangement.” Compare Ruscha’s (1963) vision of the American West (above) with Ansel Adams’ interpretation based on 19th century Romantic landscape aesthetics, (right) Moonrise over Hernandez, NM. October 31, 1941. Adams made “Art” and did not work in other media.

The artist’s road trip from California to Oaklahoma Ansel Adams, Grand Tetons and the Snake River, 1942 The artist’s road trip from California to Oaklahoma Albert Bierstadt, The Rocky Mountains, 1863

Ed Ruscha, Standard Station, Amarillo, Texas, 1963, oil on canvas, 5’5” x 10’

Ed Ruscha took the photographs of Sunset Strip with a motorized Nikon camera mounted to the back of a pick-up truck. This allowed him to photograph every building while driving – first down one side of the street and then the other. The pictures were then pasted in order they were shot, and the individual buildings were labeled with their respective address numbers.

Ed Ruscha, The Old Trade School Building, 2005, synthetic polymer on canvas 54 x 120 in, from The Course of Empire Series, US Pavilion, Venice Biennale, 2005 (bottom) Blue Collar Trade School, 1992, Synthetic polymer on canvas, 54 x 120

Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey,” 1967 from Artforum, vol.6, no.4, December 1967, pp. 48-51.

Robert Smithson (American Environmental Artist, 1938-1973), Spiral Jetty, 1970, Great Salt Lake. Earthwork

Hans Haacke, detail of Shapolsky et al, Manhattan Real Estate Holdings, a Real Time System as of May 1, 1971, 1971, two enlarged photographs, 142 black and white photographs with typewritten data sheets, six charts and one explanatory panel

Bernhard and Hilla Becher Conceptual (typological) photography (left) Gas Tanks, 1963 (right) Water Towers, 1980, 9 b/w photographs mounted on board, 62inH overall

Thomas Struth (German, b Thomas Struth (German, b. 1954), Sommerstrasse, Düsseldorf, 1980, Gelatin silver print, 16 1/2 x 22 1/2 in., Dallas Museum of Art

Thomas Struth (Germany, b Thomas Struth (Germany, b.1954, student of Bechers) Shinju-ku (Skyscrapers), Tokyo, 1986 (right) Ferdinand-von-Schill-Strasse, Dessau, 1991

Candida Höfer (Germany, 1944, student of Bechers) (left) Stiftsbibliothek Klosterneuburg III, 2003, C-print, 68 in. H Ca' Rezzonico Venezia II, 2003, C-print, 74 in. Width

Thomas Ruff (German, b. 1958), House #9 II, 1991, 72 in Thomas Ruff (German, b.1958), House #9 II, 1991, 72 in. H one of series taken in early morning, apartment blocks in Eastern Germany

Thomas Ruff, (left) Portrait, 1989, 63in Thomas Ruff, (left) Portrait, 1989, 63in. H (center and right) from Portrait series, 2001, conceptual typologies “absolute objectivity” like passport photos except for scale '... Like archetypal passport photos... young people with dead eyes and empty faces.' Ruff

Martha Rosler, detail of The Bowery in Two Inadequate Descriptive Systems, 1974, 45 black and white photographs mounted on 24 mat-board panels, each panel 25 x 56 cm

http://www.nytimes.com/interactive/2008/09/05/arts/rosler-audioss/index.html 2008 New York Times slide show: Rosler talking about her work 1960’s-2008 Martha Rosler (US, 1943) Cleaning the Drapes, from series, Bringing the War Home: House Beautiful, 1967-72

Cindy Sherman (US, b.1954) Untitled Film Still #27, 1979 69 film stills from 1977 (23 years old) to 1980. She stopped making film stills, she has explained, when she ran out of clichés.

"She's good enough to be a real actress.“ Andy Warhol Cindy Sherman, (left) Untitled Film Still #35, 1979; (right) Untitled Film Still #54. 1980 The Museum of Modern Art, New York. 8 x 10” glossies just like “real” film stills. "She's good enough to be a real actress.“ Andy Warhol

Cindy Sherman, (left) Untitled Film Still #37, (right) UFS #13, 1979

(left) Cindy Sherman, Untitled #188, Chromogenic color print, 43 ½ x 65 ½,“ 1989 (right) Hans Bellmer (German, 1902-1975) 'Poupee' (Doll) in Hayloft, 1935-1936 (historical source for Sherman)

(left) Sherrie Levine (US Postmodern Appropriation artist, b (left) Sherrie Levine (US Postmodern Appropriation artist, b.1947) Untitled (After Alexander Rodchenko: 9), 1987 (right) Alexander Rodchenko (Russian Constructivist, avant-garde modernist), 1891-1956), Portrait of Mother, 1924 Postmodern “Appropriation” of “high” art challenged modernism’s key values of “originality” and “aura.” Key text: Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

(left) Sherrie Levine, After Walker Evans, 1981 – a photograph of reproduction of a photograph (right) Walker Evans, Hale County, Alabama, 1936. (Or is it the other way around?) Key text: Rosalind Krauss: “The Originality of the Avant-garde and other Modernist Myths” Post-structuralism – postmodern revision of modern theory

Richard Prince (American, born 1949), Untitled (four single men with interchangeable backgrounds looking to the right), 1977, Mixed media on paper, 23 x 19 in. Metropolitan Museum, NYC

Richard Prince, (left) Untitled (cowboy), 1981, Ektacolor photograph, 20 x 24 in (right) Untitled (cowboy) 1980-84, Ektacolor photograph, 27 x 40 in. “Pictures Generation” appropriation from mass visual culture: advertising photography

Barbara Kruger (U.S. b. 1945), (left) Untitled (Your Gaze Hits the Side of My Face), 1981, gelatin silver print, 72 x 48 in.; (right) Untitled (I Shop Therefore I Am), 1987. “Pictures Generation”

Louise Lawler (American, born 1947), Pollock and Tureen, Arranged by Mr. and Mrs. Burton Tremaine, Connecticut, 1984, silver dye bleach print, 28 x 39 in.

Jeff Wall (Canadian, 1946), Picture for Women, 1979 transparency in light box, approx. 5 x 7ft

(left) Jeff Wall, Picture for Women, transparency in lightbox, 1979, around 5ft x 7ft; compare (right) Edouard Manet, A Bar at the Folies-Bergère, oil on canvas, 1882 / Art historical quotation is characteristically postmodern.

(left) Jeff Wall, Picture for Women, transparency in lightbox, 1979, around 5ft x 7ft; compare (right) Diego Velazquez (Spanish Baroque), Las Meninas, 1656. scale, complex composition drawing attention to the unity of reality and illusion, uncertain relationship between the viewer and the figures depicted.

Jeff Wall (Canada, b. 1946) Installation view of the exhibition Documenta 8, Kassel, Germany, 1987, showing The Storyteller, cibachrome transparency, lightbox, 1986

Jeff Wall, A Sudden Gust of Wind (After Hokusai), transparency in light-box, 1993, 7ft x 12ft. Hokusai, Ejiri in Suruga Province c.1831-3, woodblock print from series, 36 Views of Fuji, 26 x 38 cm

Felix Gonzalez-Torres (American b. Cuba 1957- NYC 1996), Untitled, 1991. As installed for The Museum of Modern Art, New York "Projects 34: Felix Gonzalez-Torres“ May 16 - June 30, 1992: 2 of 24 locations throughout New York City "EMERGING WOR(L)DS": June 2007 - October 2008: http://www.tina-b.com/content.php?akce=section&lang=en&season=2007&id=12 Gonzalez-Torres represented the United States at the 2007 Venice Biennale

Christian Boltanski (French, b Christian Boltanski (French, b. 1944) Jewish School of Grosse Hamburgstrasse in Berlin in 1939, 1991, moving photographs, fans, florescent lamps, dimensions variable http://www.monumenta.com/2010/english/monumenta/Monumenta-2010.html Christian Boltanski at the Grand Palais, Monumenta 2010 Monument (Odessa), 1989-2003, gelatin silver prints, tin biscuit boxes, lights, and wire

Annette Messager (French, b Annette Messager (French, b. 1943) My Vows (Mes Voeux), 1988-91, gelatin-silver prints under glass and string, dimensions variable detail

Annette Messager, My Vows, 1990. Gelatin silver prints and string Annette Messager, My Vows, 1990. Gelatin silver prints and string. Dimensions vary with installation, approx.: 140 x 73 inches. Solomon R. Guggenheim Museum, 2007 purchase Catholic votives

“Pictures” Painters Postmodern, Post-Pop “Painters of Modern Life” Postmodern tactics of pastiche, appropriation of found pictures from media (“low” art) and art history (“high” art) The “return of the ‘real’”

(left) David Salle (US, b (left) David Salle (US, b. 1952), His Brain, 1984, oil and acrylic on canvas, acrylic on fabric, two panels, 9 ft 9 in x 8 ft 10 in overall [PICTURES GENERATION] (right) compare Salle with James Rosenquist (US, b. 1933), President Elect, 1960-1 and (right below) Sigmar Polke (German, 1941), Alice in Wonderland, 1971

David Salle, Comedy, 1995, oil and acrylic on canvas, two panels: 96 1/4 x 144 1/8 inches overall; Solomon R. Guggenheim Museum

Secret brutalities of middle class lives Eric Fischl (US, b. 1948) Bad Boy, 1981, oil on canvas, 5ft 6in x 8ft decadent suburbia Edgar Degas, Interior,1868-9 Secret brutalities of middle class lives

Eric Fischl, Sleepwalker, 1979, oil on canvas “What’s an adolescent boy’s masturbation about anyway if it’s not, in some sense, a separation technique? He’s separating from his parents. He’s becoming aware of himself.” - Fischl

Eric Fischl, A Visit to / A Visit from / The Island, oil on canvas, 1983

(left) Eric Fischl, Bedroom Scene #7 (After the Tantrum, Unholy News) 2004, oil on linen, 65 x 98 in. From photographic series, The Krefeld Project, For several days two actors posed for artist in Museum Haus Esters in Krefeld, Germany, which was designed by Mies van der Rohe in 1928 to be a private home. Furnished for the shoots by the artist. (right) compare Edouard Manet (French,1832-1883), In the Garden, 1879, oil on canvas, 115 x 150 cm “The Painter of Modern Life”

Eric Fischl, Krefeld Project: Dining Room Scene 2, 2003, oil on Linen, 89 x 124 inches.

Fischl, Bedroom Scene #1, 2003, from photographic series: “The Krefeld Project” (2002) (right) compare Edward Hopper (US, 1882-1967), Hotel Room, 1931, oil on linen

Post-modern painting in Germany Berlin Wall, November 9, 1989, marking the end of the Cold War

Background: Annihilation of Modern Art in Nazi Germany 1933- 45 and East Germany (Communist) 1945-1989 (left) Ernst Ludwig Kirchner (German Expressionist,1880-1938) Girl Under a Japanese Umbrella, 1906; (right) Emil Nolde (German Expressionist, 1867-1956), Excited People, 1910; (below) Degenerate Art Exhibition, Munich, 1937

Composition with Blue, 1926 Piet Mondrian, oil, 24 in. sq. “Degenerate Art” The poster of the Degenerate Music exhibition (1938). Jewish Composers and Jazz/Swing musicians were accused by the Nazis of producing "degenerated music"... Marc Chagall, Purim, 1916-18, oil, 20 x 28 in, exhibited in Nazi Degenerate Art Exhibition

“Good German Art” – Socialist Realism (only)

Joseph Beuys (German, 1921-1986), (left) Fat Chair, 1964 (right) Felt Suit, 1970; (center) Joseph Beuys the artist: "The whole process of living is my creative act." First German artist after WW II to achieve international fame based on exploration of his German identity: art that could not be made in East Germany.

Gerhard Richter, Eight Student Nurses, 1966, oil on canvas, 8 paintings each c. 36 x 27 Use of media photos like Post-Pop NYC “Pictures Generation”

Lichtenstein, cover of Newsweek, 1966 Ben-Day dots Sigmar Polke, Bunnies, 1966, acrylic on linen, 58 x 39” Simulation of Raster dots (commercial 4-color printing) Warhol, "Marilyn," 1964

Jörg Immendorff (b. 1941 Silesia, East Germany), Can one change anything with these?, 1972, acrylic on canvas, 20 x 31 ½ in Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965, Dusseldorf. Immendorff’s teacher

Jörg Immendorff, Café Deutschland I, 1978, oil on canvas, 280 x 320 cm Jörg Immendorff, Café Deutschland I, 1978, oil on canvas, 280 x 320 cm. Utterly dystopic

Compare Expressionism of Max Beckmann (left), Night, 1917-18 with Neo-Expressionism of Immendorff, Café Deutschland I, 1978 What (form and content) do they have in common?

Leipzig group, 2006: from left: Tilo Baumgärtel (b Leipzig group, 2006: from left: Tilo Baumgärtel (b.1972), Christoph Ruckhärberle (b. 1972), Martin Kobe (b.1973), Matthias Weischer (b.1973), and David Schnell (b.1971) The New York Times 2006: "Art Stars of the Decade" "If you want to talk of an advantage, you can say it [the “Iron Curtain”] allowed us to continue in the tradition of Cranach and Beckmann. It protected the art against the influence of Joseph Beuys.“ - Leipzig AFA professor Arno Rink The first generation of artists to grow up in the reunified Germany

Max Beckmann (German, 1884-1950), Departure, 1932 Leipzig’s native son Beckmann at MoMA NYC, 1947, in front of Departure

Lucas Cranach the Elder (German, 1472-1553), The Golden Age, 16th Century Progenitor of Leipzig tradition in painting

Neo Rauch (b. 1960, Leipzig, Germany, lives and works in Leipzig) shown (2006) in studio before one of his paintings. Rauch was trained in communist social realism

Neo Rauch, Das Neue (The New), 2003 "It is important to create a definite environment or stage on which things can happen. For me, the function of painting as I understand it is to work with myths. I try to create a widespread system where impulses are trapped. With an analytic understanding, you can't grasp it." Giorgio di Chirico, (Italian 1888-1978) Philosopher’s Conquest, 1913 (compare)

(right) Neo Rauch, Diktat (Dictation), 2004 (left top) Balthus (French, 1908–2001) The Mountain, 1937, oil on canvas, 98 x 144 in (left below) René Magritte (Belgian, 1898-1967), The Menaced Assassin, 1926

Christoph Ruckhäberle (Germany, b Christoph Ruckhäberle (Germany, b.1972), Lake at Sunset, 2004, oil on canvas, 279 x 381cm E.L. Kirchner, 1909 Cézanne, 1876 “Cribbed from all the best bits of art history…” - Saatchi Gallery publicist

http://channel. tate. org. uk/media/75472996001 Dexter Dalwood (UK, b http://channel.tate.org.uk/media/75472996001 Dexter Dalwood (UK, b.1960), The Umbrella Murder 59 x 81.5”, oil on canvas, 2008

Dexter Dalwood, Sunny Von Bulow, 2003, oil on canvas, 105 x 207cm (41 x 81 in)

John Everett Millais, Ophelia, 1851, oil on canvas, Tate London Pre-Raphaelite source for Dexter Dalwood’s Sunny von Bulow, 2003

Luc Tuymans (Belgian, b. 1958), Gas Chamber, oil on canvas, 1986, 24 x 32 1/2 in “In honor of Caryl Chessman,” who went to the San Quentin Prison gas chamber in 1960

Luc Tuymans, The Secretary of State 2005, oil on canvas, 18 x 24 in