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Basquiat drew his subjects from his own Caribbean heritage—his father was Haitian and his mother of Puerto Rican descent—and a convergence of African-American, African, and Aztec cultural histories with Classical themes and contemporary heroes like athletes and musicians. Often associated with Neo-expressionism, Basquiat received massive acclaim in only a few short years, showing alongside artists like Julian Schnabel, David Salle, and Francesco Clemente. In 1983, he met Andy Warhol, who would come to be a mentor and idol. The two collaborated on a series of paintings before Warhol’s death in 1987, followed by Basquiat’s own untimely passing a year later.

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Christo and Jeanne-Claude, Wrapped Kunsthalle, 1968

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Christo and Jeanne-Claude, Wrapped Kunsthalle, 1968

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July 1968, marked the fiftieth anniversary of the museum and the event was celebrated with an international group show of environmental works by twelve artists. As one of the dozen participants, Christo and Jeanne-Claude showed nothing inside the museum, but literally packaged the entire exhibition. "We took the environments by eleven other artists," Christo remarked with amusement, "and wrapped them. We had our whole environment inside."

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The artist also now resisted explaining the meaning of his work. "Silence is so accurate," he said, fearing that words would only paralyze the viewer's mind and imagination.

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-universal harmony & color
-integrating art and life post ww1

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Ernst Ludwig Kirchner.Street, Dresden. 1908 (1907 on painting)

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Ernst Ludwig Kirchner.Street, Dresden. 1908 (1907 on painting)

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Street, Dresden emphasizes the dynamism of urban life in Germany in the early twentieth century, depicting the swirling crowds and electric lights of the modern city.

It recalls the isolation and psychological angst explored by earlier nineteenth-century artists, but reflects the twentieth-century move toward greater expressionism in color and open brushwork.

Kirchner and other Die Brücke artists were influenced by Nietzsche’s ideas about breaking apart morality and conventions in modern Germany.

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No more art “capitals”



Interactive art



Installations



Art as political statement

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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

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

Anti-elitist



Taking art to the masses

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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)

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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

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Post-Minimalist Painting, Photorealism, and Pattern & Decoration



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

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Jaune Quick-To-See Smith, Trade (Gifts for Trading Land with White People), 1992

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Jaune Quick-To-See Smith, Trade (Gifts for Trading Land with White People), 1992

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Ai Weiwei, Kui Hua Zi (Sunflower Seeds), 2010

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Ai Weiwei, Kui Hua Zi (Sunflower Seeds), 2010

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Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991/2006

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Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991/2006

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It is an actual tiger shark preserved in formaldehyde in a vitrine, and this installation was commissioned by Charles Saatchi who was willing to pay for whatever artwork Hirst wanted to produce. The animal was caught by a commissioned fisherman in Hervey Bay in Queensland, and the artist's desire was to have a specimen "big enough to eat you".
What makes this object so peculiar and staggering is the fact that the animal is depleted from its natural surrounding meaning that it is motionless, frozen and preserved. A large number of people have never seen a shark except on television or at an aquarium, so the work practically allows the audience to see it in a safe surrounding, and potentially face their abstracted fears.

Namely, this artwork opens up the question of how we interact with nature and other species, so the artist essentially becomes an intermediary of experience which makes this work operating on several levels – from a psychological perspective with human fears; from a zoological perspective with the features and characteristics of an animal; from the perspective of popular culture with the disturbing imagery; and finally from an artistic perspective with the broadening of the notion of an artwork.

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Jeff Koons, Michael Jackson and Bubbles, 1988

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Jeff Koons, Michael Jackson and Bubbles, 1988

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Jean-Michel Basquiat, Horn Players, 1983

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Jean-Michel Basquiat, Horn Players, 1983

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Robert Longo, Untitled (Men in the Cities Series), 1981

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Robert Longo, Untitled (Men in the Cities Series), 1981

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Sandro Chia, The Idleness of Sisyphus, 1981

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Sandro Chia, The Idleness of Sisyphus, 1981

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Cindy Sherman, Untitled Film Still #35, 1979 (or any other work from this series)

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Cindy Sherman, Untitled Film Still #35, 1979 (or any other work from this series)

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Sherman’s images are crudely printed like the cheap 8 x 10-inch promotional stills used by the film industry, but they portray scenes from movies that never existed. Still, her women feel familiar, embodying mass media and cultural conventions of femininity, sexuality, and fantasy. Here, the protagonist’s intense, off-screen glance—emphasized by means of the image’s low-angle—invokes the dramatic standards of narrative cinema; we recognize in her a frustrated housewife of the sort played iconically by Sophia Loren. This image, like all of Sherman’s film stills, spurs an uncanny sense of recognition, encouraging the viewer to piece together the story behind the scene. “I like characters who are not smiling—they’re sort of blank,” Sherman remarked. “It makes the viewer come up with the narrative.”

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Allan McCollum, 20 Plaster Surrogates, 1982-85

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Allan McCollum, 20 Plaster Surrogates, 1982-85

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Barbara Kruger. Untitled (We Won’t Play Nature to Your Culture). 1983

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Barbara Kruger. Untitled (We Won’t Play Nature to Your Culture). 1983

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Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981 (Appropriation)

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Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981 (Appropriation)

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Sherrie Levine, After Piet Mondrian, 1983 (Appropriation)

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Sherrie Levine, After Piet Mondrian, 1983 (Appropriation)

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Michael Graves, Public Services Building, Portland, Oregon. 1980-82

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Michael Graves, Public Services Building, Portland, Oregon. 1980-82

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Philip Johnson and John Burgee, AT&T Headquarters Building, NYC. 1978-83

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Philip Johnson and John Burgee, AT&T Headquarters Building, NYC. 1978-83

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Vija Celmins, Untitled (Big Sea #2), 1969

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Vija Celmins, Untitled (Big Sea #2), 1969

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Audrey Flack, Wheel of Fortune, 1977-78 

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Audrey Flack, Wheel of Fortune, 1977-78 

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Joyce Kozloff, Mural for Harvard Square Subway Station, 1984 

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Joyce Kozloff, Mural for Harvard Square Subway Station, 1984 

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Fairfield Porter, Under the Elms, 1971-72

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Fairfield Porter, Under the Elms, 1971-72

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Richard Diebenkorn, Man and Woman in Large Room, 1957

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Richard Diebenkorn, Man and Woman in Large Room, 1957

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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)

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Claes Oldenburg and Coosje van Bruggen, Spoonbridge and Cherry, 1985-88

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Claes Oldenburg and Coosje van Bruggen, Spoonbridge and Cherry, 1985-88

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Maya Lin. Vietnam Veterans Memorial. 1982

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Maya Lin. Vietnam Veterans Memorial. 1982

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Christ and Jeanne-Claude, The Gates, Central Park, 1979-2005

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Christ and Jeanne-Claude, The Gates, Central Park, 1979-2005

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Christo and Jeanne-Claude.  Running Fence, 1972–76

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Christo and Jeanne-Claude.  Running Fence, 1972–76

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James Turrell, Roden Crater Project, 1982

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James Turrell, Roden Crater Project, 1982

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Walter de Maria, Lightning Field, 1970-77

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Walter de Maria, Lightning Field, 1970-77

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Michael Heizer, Double Negative, 1969-70

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Michael Heizer, Double Negative, 1969-70

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Conceptual, Performance, Installation, and Activist Art

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Conceptual, Performance, Installation, and Activist Art

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Ideas to Know:

Art as idea

Art that can’t be collected

Improvisation/Art as experience

Art with a political point

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Betye Saar, The Liberation of Aunt Jemima, 1972

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Betye Saar, The Liberation of Aunt Jemima, 1972

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Joseph Beuys, How to Explain Paintings to a Dead Hare, Nov. 26, 1965

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Joseph Beuys, How to Explain Paintings to a Dead Hare, Nov. 26, 1965

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The relationship between thought, speech, and form in this performance was also characteristic of Beuys. In his last speech Speaking about Germany (German: Sprechen über Deutschland, 1985) he emphasized that he was essentially a man of words. In another instance he is quoted as saying: "When I speak, I try to guide that power's impulse so that it flows into a more fully descriptive language, which is the spiritual perception of growth."[nb 1][3] The integration of speech and conversation into his visual works plays a meaningful role in How to Explain Pictures to a Dead Hare.

The hare is an animal with broad, centuries-old symbolic meaning in many religions. In Greek mythology it was associated with the love goddess Aphrodite, to the Romans and Germanic tribes it was a symbol of fertility, and in Christianity it came to be connected with the Resurrection. This interpretation is also supported by the "mask" that Beuys wore during his performance: gold as a symbol for the power of the sun, wisdom, and purity, and honey as a Germanic symbol for rebirth.

The relationship between thought, speech, and form in this performance was also characteristic of Beuys. In his last speech Speaking about Germany (German: Sprechen über Deutschland, 1985) he emphasized that he was essentially a man of words. In another instance he is quoted as saying: "When I speak, I try to guide that power's impulse so that it flows into a more fully descriptive language, which is the spiritual perception of growth."[nb 1][3] The integration of speech and conversation into his visual works plays a meaningful role in How to Explain Pictures to a Dead Hare.

The hare is an animal with broad, centuries-old symbolic meaning in many religions. In Greek mythology it was associated with the love goddess Aphrodite, to the Romans and Germanic tribes it was a symbol of fertility, and in Christianity it came to be connected with the Resurrection. This interpretation is also supported by the "mask" that Beuys wore during his performance: gold as a symbol for the power of the sun, wisdom, and purity, and honey as a Germanic symbol for rebirth.

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Nam June Paik, Electronic Superhighway, 1995

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Nam June Paik, Electronic Superhighway, 1995

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John Baldessari, I Will Not Make Any More Boring Art, 1971

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John Baldessari, I Will Not Make Any More Boring Art, 1971

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Ideas to Know:

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)

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Dan Flavin. the nominal three (to William of Ockham). 1963 

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Dan Flavin. the nominal three (to William of Ockham). 1963 

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He became interested in the way that painting engages with the architectural space it inhabits; rather than attempting to simulate three-dimensional perspective in a composition, he instead considered the wall a kind of “ground,” the painting itself a “figure” on it. In Orange Green, made the following decade, when he was back in New York, he established the figure-ground relationship on the canvas itself through the careful balance of two areas of color: the truncated orange egg-shape is the figure and the bright green color that surrounds it functions as its background.

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Helen Frankenthaler, Interior Landscape, 1964

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Helen Frankenthaler, Interior Landscape, 1964

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Helen Frankenthaler. Mountains and Sea. 1952 

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Helen Frankenthaler. Mountains and Sea. 1952 

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“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

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Sister Corita Kent, Enriched Bread, 1965

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Sister Corita Kent, Enriched Bread, 1965

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James Rosenquist, Portion of F-111, 1965

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James Rosenquist, Portion of F-111, 1965