Week 13
November 26, 2006
Judy Chicago, The Dinner Party, 1974-79
setting for Virginia Woolf
Mary Kelley, Post Partum Document, 1975-79
Documentation 6: pre-writing alphabet, exergue and diary, 1978
Barbara Kruger, unititled
(Your
gaze hits the side of my face), 1982
Barbara Kruger, untitled (We won't play nature to your culture), 1983
Cindy Sherman, untitled film stills, 1978-1980
Cindy Sherman, untitled film still, 1979 (with mirror)
Sherrie Levine, After Walker Evans,
1981
Walker Evans, from Let Us Now Praise Famous Men, 1936
Sherrie Levine, After Edward Weston, 1980
Edward Weston, Neil,
1925
Sherrie Levine, Presidents #2, 1979
Sherrie Levine, Presidents #3, 1979
Jack Goldstein, The Tornado, 1976
Jack Goldstein, Two Wrestling Cats, 1976
Robert Longo, The American Soldier, 1977
Robert Longo, untitled 1982
Richard Prince, Counterfeit Memory, 1982
Richard Prince, untitled (VO label), 1977
Richard Prince, untitled (women looking left), 1980
Richard Prince, untitled (sunsets), 1982, and detail
Alan McCollum, Perpetual Photographs,
1984-85 detail
Alan McCollum, Perpetual Photographs, 1984-85
Alan McCollum, Surrogate Paintings, 1978-80
Jenny Holzer, from
the Truisms
(Private Property) Times Square 1982
Jenny Holzer, from the Truisms (Money
Creates
Taste), at
Louise Lawler, (Stevie
Wonder) Arranged by Mr. and Mrs. Burton Tremaine,
1984
Louise Lawler, How
many Pictures, 1989
Frank Stella, Takhi-i-Sulayman I, 1967
Julian Schnabel, Prehistory: Glory, Honor,
Privilege and
Poverty, 1981
Julian Schnabel, Exile 1980
Sandro Chia, Pittore, Scultore,
1982
Sandro Chia,
cover of Art
News, April 1983
Francesco Clemente, Three in One,
fresco, 1981
Francesco Clemente,
untitled 1983
Rainer Fetting,
Self
Portrait with Yellow Hat, 1982
Rainer Fetting,
Self
Portrait with Palette, 1983
Van Gogh, Self
Portrait with Gray Hat, 1887
Oscar Kokoshka,
Self-portrait, 1917
Oscar Kokoschka, Painter
#2, 1924
Van Gogh, Painter on
the Roads, 1888
Rainer Fetting,
Van Gogh at
the Wall, 1978
Anselm Kiefer, Nero
Painting, 1974
Anselm Kiefer, Tree
with Palette, 1978
Marcia Tucker, from Bad Painting 1978: "The freedom with which these artists mix classical and popular art-historical sources, kitsch and traditional images, archetypal and personal fantasies, constitutes a rejection of the concept of progress per se. . . . It would seem that, without a specific idea of progress toward a goal, the traditional means of valuing and validating works of art are useless. Bypassing the idea of progress implies an extraordinary freedom to do and to be whatever you want. In part, this is one of the most appealing aspects of "bad" painting - that the ideas of good and bad are flexible and subject to both the immediate and the larger context in which the work is seen."
Christos Joachimides:
from A New Spirit in Painting, 1981: “the
artists’ studios are filled
with paint pots again….Wherever you look in Europe or America you find
artists who have discovered the sheer joy of painting.”
“This exhibition presents a position in
art which conspicuously asserts traditional values such as individual
creativity, accountability, quality.” “The
return to painting means a return
to the artist, we are confronted with an art that tells us about the
artist’s personal relationships and personal worlds….It is the
desire to talk about oneself, to express one’s own desires and fears,
to
react to daily life, indeed to reactivate areas of experience that have
long
lain dormant”
Doris Saatchi, 1982: “We need him in a risky world, to risk for all of us the humiliation, the frustration, and the mighty exhaustion of self-expression.” “We need him to show us how to feel.” “We still need heroes, and artists who are grappling with life’s weighty problems will do.”
Achille Bonito Oliva, “The Italian Transavantgarde” (1979): “Today to make art means having everything on the table in a revolving and synchronous simultaneity which succeeds in blending inside the crucible of the work both private and mythic images, personal signs tied to the individual’s story and public signs tied to cultural and art history”
D<>ouglas Crimp, from Pictures 1977: “The primary issue in this work is, of course, the structure of signification, with that distance that separates us from the world and that constitutes our desire. … a psychologized temporality is instituted: foreboding, premonition, suspicion, anxiety ….Needless to say, we are not in search of sources and origins, but structures of signification: underneath each picture is always another picture.”
November 28, 2006
Julian Schnabel, Prehistory: Glory, Honor,
Privilege and
Poverty, 1981
Julian Schnabel, Exile 1980
Julian Schnabel, Blue Nude with Sword, 1979
David Salle, His Brain 1984
Jenny Holzer, from
the Truisms (Money Creates
Taste), at
Louise Lawler, (Stevie Wonder)
Arranged by Mr. and Mrs. Burton Tremaine,
1984
Jenny Holzer, poster with Truisms,
1980
Jenny Holzer, tee shirt with Truisms,
1982
Christy Rupp, Rat Patrol (4,000
stickers), 1979
John Ahearn and Rigoberto Torres, Jose, 1983
John Ahearn and Rigoberto Torres, We are Family, 1983
Crash (John Matos) Storefront of Fashion Moda, South Bronx, 1981
Crash (John Matos) and Daze (Chris Ellis), Graffiti Mural, South Bronx,
1982
SAMO, Tar, Tar, Tar, c. 1978-79
SAMO (Jean-Michel Basquiat), c. 1978-79
Keith Haring, drawing on a subway wall, 1982
Jean-Michel Basquiat, from Six
Icons, numbers 2 and 4, 1982
Jean-Michel Basquiat, Native
Carrying Some Guns, Bibles. Amorites on Safari, 1982
Jean-Michel Basquiat, Hollywood Africans, 1982
Keith Haring, drawing on a subway wall,
1982
Keith Haring untitled print, 1982
Keith Haring, untitled, 1982
Keith Haring, untitled (pregnant woman), 1984
Crash (John Matos), Bigmouth, 1984
Daze (Chris Ellis), Geisha, 1984
Basquiat and Warhol at Tony Shafrazi
Gallery, installation view, 1985
Basquiat/Warhol, untitled collaboration, 1984
Jack Goldstein, untitled, 1983
Sherrie Levine, Broad Stripe 2,
1985
Sherrie Levine, Lead Check 3,
1987
Jeff Koons, New
Hoover Convertibles,
Shelton Wet/Dry Doubledecker, 1981-86
Jeff Koons, New Hoover Quadraflex, 1981-86
Jeff Koons, Pink Panther, 1988
Jeff Koons, Ushering in Banality, 1988
Ashley Bickerton, Le Art (Composition
with Logos), 1987
Ashley Bickerton, Abstract Painting
for People (bad), 1987
Philip Taafe, Abraham and Isaac, 1986
Philip Taafe, Now and Then, 1988
Barnett Newman Abraham 1949
Ross Bleckner, Cage,
1988
Gene Davis, Cool Buzz Saw,
1964
Ross Bleckner, Door to Last Year, 1981
Brigit Riley, Current, 1964
Ross Bleckner, Remember Me, 1987
Ross Bleckner, 8,122 as of January
1986, 1986
David Salle:
“Because painting is so charged, so weighted down by history, so
lumbering, so bourgeois, so spiritual—all these things that had made it
seem so incorrect—I came to see this is what gave painting such
potential”
Ashley Bickerton: “Every space has
been marked, touched, charted, and catalogued….It’s all been
circumscribed and
prepackaged and inscribed in the form of kitsch. [but]
we can reinvent ourselves in kitsch, like a dog can
get excited about going out for a walk on a chain.”
“These are not paintings. They are paradigms of painting [plotting] every station of its operational life, i.e., storage, shipping, gallery access, rack, reproduction, and on the wall”