# data[].attributes.body
El

Anatsui.

Dzesi II

. 2006

# data[].attributes.body
Pepon Osorio,

La Cama (The Bed

), 1987

# data[].attributes.body
Jaune Quick-To-See Smith,

Trade (Gifts for Trading Land with White People)

# data[].attributes.body
Yayoi

Kusama,

A Dream I Dreamed

, 2014

# data[].attributes.body
Ai Weiwei,

Kui Hua Zi (Sunflower Seeds)

, 2010

# data[].attributes.body
Jeff Koons,

Michael Jackson and Bubbles

, 1988

# data[].attributes.body
Damien

Hirst,

The Physical Impossibility of Death in the Mind of Someone Living

, 1991/2006

# data[].attributes.body
Sigmar Polke,

Watchtower

, 1984

# data[].attributes.body
Julian

Schnabel,

The Sea

, 1981

# data[].attributes.body
Robert Longo,

Untitled (Men in the Cities Series),

1981

# data[].attributes.body
Elizabeth Murray,

Art Part

, 1981

# data[].attributes.headline
Post-Minimalist Painting, Photorealism, and Pattern & Decoration

# data[].attributes.subject
Post-Minimalist Painting, Photorealism, and Pattern & Decoration

# data[].attributes.body
- Representational art re-emerges, but often with an emphasis on formal qualities and

- lack of narrative (Diebenkorn, Katz, Celmins)

- Photorealism emerges as an extreme response to non-objective and Minimalist art; also

- as a response to photography

- Re-emergence of symbolism (Flack)

- Pattern & Decoration emerges as both a response to Minimalism and its lack of

- embellishment and as a homage to women’s art mediums of the past

# data[].attributes.body
- No more art “capitals”

- Interactive art

- Installations

- Art as political statement

# data[].attributes.body
- Issues of taste, kitsch, low art vs. fine art

- Art as an object to be bought and sold, art that is not “made” by the artist

- Idea of fragility of life

# data[].attributes.body
- Anti-elitist

- Taking art to the masses

# data[].attributes.body
Keith Haring,

One-Man Show

, 1982

# data[].attributes.body
Jean-Michel Basquiat,

Horn Players

, 1983

# data[].attributes.body
A return to emotion after the detachment of Minimalism

A return to seeking influence from the past

A return to expressing contemporary issues

For many Germans, a time of confronting and coming to terms with the Nazi past (Baselitz, Kiefer, Richter)

For many, a reaction to corporate, capitalist culture (Polke, Longo)

Pluralism of styles vs. a logical order (Richter)

# data[].attributes.body
Art that emerges after the Modernist movement that dominated the first half of the century, and in many ways opposite to the ideals of Modernism; characterized by:

- Post-structuralism (the denial of fixed rules in forms or structures)
- A return to ornament and embellishment

- A reintroduction of historical references (beginning in architecture)

- An interest in sense of place and local interests (vs. international style)

- Appropriation as a deconstruction of the modernist myth of genius and of authoritarian control

- Irony and skepticism

- Emphasis on multiculturalism

- Pluralism of styles vs. a logical order

- Emphasis on collaboration vs. individual genius

- A denial of fixed truths

- Extension of Modernism, since it continues to question rules of the past

# data[].attributes.body
Anselm Kiefer,

Shulamite

, 1983

# data[].attributes.body
Gerhard Richter,

Vase

, 1984

# data[].attributes.body
Gerhard

Richter,

Betty, 1988

# data[].attributes.body
Georg Baselitz,

The Brücke Choir

, 1983

# data[].attributes.body
Philip Johnson and John Burgee, AT&T Headquarters Building, NYC. 1978-83

# data[].attributes.body
Michael Graves, Public Services Building, Portland, Oregon. 1980-82

# data[].attributes.body
Sherrie Levine,

After Piet Mondrian

, 1983 (Appropriation)

# data[].attributes.body
Barbara Kruger,

Untitled (Your Gaze Hits the Side of My Face),

1981 (Appropriation)

# data[].attributes.body
Barbara Kruger.

Untitled (We Won’t Play Nature to Your Culture

). 1983

# data[].attributes.body
Allan McCollum,

20 Plaster Surrogates, 1982-85

# data[].attributes.body
Cindy Sherman,

Untitled

Film Still #35,

1979

# data[].attributes.body
Sandro Chia,

The Idleness of Sisyphus,

1981

# data[].attributes.body
Miriam Shapiro,

Black Bolero

, 1980

# data[].attributes.body
Iconography = study of subject and symbolism in art

Iconology = the study of the symbolic meanings of images in art

# data[].attributes.body
Chuck Close,

Linda

, 1975-76

# data[].attributes.body
Audrey Flack,

Wheel of Fortune

, 1977-78

# data[].attributes.body
Vija Celmins, Untitled (Big Sea #2), 1969 - Graphite and acrylic

# data[].attributes.body
Duane Hanson,

Tourists

, 1970

# data[].attributes.body
Alice Neel,

Dana Gordon

, 1972

# data[].attributes.body
Fairfield Porter,

Under the Elms

, 1971-72

# data[].attributes.body
Alex Katz,

The Red Band

, 1978

# data[].attributes.body
Joyce Kozloff,

Mural for Harvard Square Subway Station,

1984

# data[].attributes.body
Jennifer Bartlett,

Rhapsody,

1975-76

1000 metal square plates all the way around the gallery

# data[].attributes.body
Richard Diebenkorn,

Man and Woman in Large Room

, 1957

# data[].attributes.body
Earth as canvas

Art as physical experience

Entropy—Art that changes with time

Site-specific sculpture

Taking art out of the gallery

Art that can’t be collected

Sculpture as monument (Vietnam Veterans Memorial)

# data[].attributes.body
Richard Serra,

Tilted Arc

, 1981

# data[].attributes.body
Claes Oldenburg and Coosje van Bruggen,

Spoonbridge and Cherry,

1985-88

# data[].attributes.body
Maya Lin.

Vietnam

Veterans Memorial

. 1982

# data[].attributes.body
Christ and Jeanne-Claude,

The Gates, Central Park

, 1979-2005

# data[].attributes.body
Christo and Jeanne-Claude.

Running Fence,

1972–76

# data[].attributes.body
James Turrell,

Roden Crater Project

, 1982

# data[].attributes.body
Nancy Holt,

Sun Tunnels

, 1973-76

# data[].attributes.body
Walter de Maria,

Lightning Field

, 1970-77

# data[].attributes.body
Michael Heizer,

Double Negative

, 1969-70

# data[].attributes.body
More for the sake of something beautiful, simplest way possible, super flat, no emotion, no feeling anything deeply, defined outlines, angular, geometric, no symbolic of anything, its reduced, hard edges, no artist hand

# data[].attributes.body
Art as idea

Art that can’t be collected

Improvisation/Art as experience

Art with a political point

# data[].attributes.body
non representation, lack a clear focal point, loose and expressive, not using a paintbrush by hand (pouring paint and turning canvas to seep into it) focus on aesthetic quality of color and not subject, huge paintings

not about the hand of the artist, much lighter, very flat, openness, no boundaries

# data[].attributes.body
David Hammons,

Higher Goals

, 1982

# data[].attributes.body
Betye Saar,

The Liberation of Aunt Jemima

, 1972

# data[].attributes.body
Guerilla Girls—Assorted Works

# data[].attributes.body
Judy Chicago,

The Dinner Party

, 1979

# data[].attributes.body
Marina Abramovic,

The Artist is Present,

2010

# data[].attributes.body
Joseph Beuys,

How to Explain Paintings to a Dead Hare

, Nov. 26, 1965

# data[].attributes.body
Nam June Paik,

Electronic Superhighway

, 1995

# data[].attributes.body
Xu Bing,

Book from the Sky

, 1987-91

# data[].attributes.body
John Baldessari,

I Will Not Make Any More Boring Art,

1971

# data[].attributes.body
Joseph Beuys,

Table with Accumulator

, 1958

# data[].attributes.body
Stain painting (Frankenthaler, Louis)

Clement Greenburg and his definitions of Modern Art, Post-Painterly Abstraction, Minimalism

Hard-Edge Abstraction

Mass production methods in sculpture (Donald Judd)

# data[].attributes.body
Bridget Riley,

Fall,

1963

# data[].attributes.body
Victor Vasarely,

Vega Per

, 1969

# data[].attributes.body
no reference to past, purely abstraction, flat, abstract, original, authentic, all about paint

just shows the paint, nothing else to it, doest show depth, its just paint, all about the medium, shows the paintbrush

# data[].attributes.body
Dan Flavin.

the nominal three (to William of Ockham)

. 1963

# data[].attributes.body
Ronald Bladen,

The X,

1967

# data[].attributes.body
Donald

Judd.

Untitled

. 1969

# data[].attributes.body
Tony Smith,

Cigarette,

1961-66

# data[].attributes.body
Agnes Martin,

Night Sea

, 1963

# data[].attributes.body
Agnes Martin,

Untitled Number 5

, 1975

# data[].attributes.body
Ellsworth Kelly.

Red Blue Green

. 1963

# data[].attributes.body
Ellsworth Kelly,

Orange and Green

, 1966

# data[].attributes.body
Frank Stella.

Empress of India

. 1965

# data[].attributes.body
Frank Stella,

Jasper’s Dilemma,

1962-63

# data[].attributes.body
Morris Louis,

Kaf,

1959-60

# data[].attributes.body
Helen Frankenthaler,

Interior Landscape

, 1964

# data[].attributes.body
Helen Frankenthaler.

Mountains and Sea

. 1952

# data[].attributes.body
“Combine”—combination of sculpture, collage, painting, etc.

Interest in mass media, consumer culture

Reaction to elitism and deep emotion of Abstract Expressionism

Similar to Dada in love of ready-made, common objects

Interested in materialism of consumer culture

# data[].attributes.body
Sister Corita Kent,

Enriched Bread

, 1965

# data[].attributes.body
David Hockney,

A Bigger Splash

, 1967

# data[].attributes.body
Wayne Thiebaud,

Pie Counter

, 1963

# data[].attributes.body
Robert Indiana,

LOVE

, 1972

# data[].attributes.body
James Rosenquist,

Portion of

F-111

, 1965

# data[].attributes.body
Andy Warhol,

Marilyn Diptych

, 1962

# data[].attributes.body
Andy Warhol.

Campbell’s

Soup Cans

. 1961–64

# data[].attributes.body
Roy Lichtenstein,

Drowning Girl

. 1963

# data[].attributes.body
Roy Lichtenstein,

Whaam!

, 1963

# data[].attributes.body
Claes Oldenburg,

Soft Toilet

, 1966

# data[].attributes.body
Claes Oldenburg,

Floor

Cake (Giant Piece of Cake),

1962

# data[].attributes.headline
Return to the object; forerunners to Pop Art

# data[].attributes.subject
Return to the object; forerunners to Pop Art

# data[].attributes.body
George Segal.

The Gas Station

. 1963

# data[].attributes.headline
Return to the object; forerunners to Pop Art

# data[].attributes.subject
Return to the object; forerunners to Pop Art

# data[].attributes.body
Jasper Johns,

Target with Plaster Casts

, 1955

# data[].attributes.headline
Return to the object; forerunners to Pop Art

# data[].attributes.subject
Return to the object; forerunners to Pop Art

# data[].attributes.body
Jasper Johns.

Three

Flags

. 1958

# data[].attributes.headline
Return to the object; forerunners to Pop Art

# data[].attributes.subject
Return to the object; forerunners to Pop Art

# data[].attributes.body
Robert Rauschenberg.

Odalisk

. 1955–58

# data[].attributes.headline
Return to the object; forerunners to Pop Art

# data[].attributes.subject
Return to the object; forerunners to Pop Art

# data[].attributes.body
Robert Rauschenberg,

Bed, 1955