Art 107
Short Answer Questions: Exam #2
CHAPTER 2: NEW YORK IN THE FORTIES
ISAMU NOGUCHI
1. Describe the modernist style that inspired NoguchiÕs work (describe style as well).
2. Analyze the connection between Noguchi and Zen Buddhism?
3. Analyze the role ÒspaceÓ playa both in NoguchiÕs sculpture and his gardens.
LOUISE BOURGEOIS
4. Why is Bourgeois considered the quintessential feminist artist?
5. Describe the childhood issues Bourgeois addresses in her sculpture.
6. Evaluate the effects of the flexible materials Bourgeois uses in her art works and their meaning.
7. Describe the shapes and forms that are suggested in BourgeoisÕ work and what statement is she trying to make.
LISETTE MODEL
8. Analyze the differences between straight photography and pictorial photography.
9. Describe the formal elements of Lisette ModelÕs photographs.
10. Evaluate the personal types Model captures in her photographs.
11. Describe were ModelÕs views on U.S. society and why did she have these views.
12. What does Model mean when she states she captures ÒimagesÓ?
CHAPTER 6: SOME
INTERNATIONAL TENDENCIES IN THE FIFTIES
13. Define Post-Painterly Abstraction.
14. Describe BatailleÕs definition of formlessness.
Alberto Burri
15. Define Tache.
16. Describe the unconventional materials in BurriÕs work.
17. How do Fontana and Burri express the Òtotal reality of the canvasÓ?
18. Who were the second-generation Gestural painters?
19. How did Greenberg define ÒpureÓ art?
20. Who were some of GreenbergÕs followers (art critics)
21. Describe were some of the problems with the formalist theories of Greenberg and Fried.
Helen Frankenthaler
22. Describe FrankenthalerÕs approach when applying paint to the canvas.
23. What inspired Frankenthaler to paint abstract scenes?
24. How did she differ from Hoffman?
Morris Louis
25. Describe the process and effect of Morris Louis' paintings.
26. What does the ÒveilÓ in LouisÕ paintings mean?
27. How did Morris Louis and Helen Frankenthaler differ from the Abstract Expressionists?
Grace Hartigan
28. Discuss the duality in HartiganÕs paintings.
29. Describe the pop elements in HartiganÕs paintings.
30. How did HartiganÕs painting style evolve over time and why was this important to her career?
Larry Rivers
31. Describe the irony and sarcasm in Rivers works.
32. Describe RiversÕ virtuoso technique.
33. Why are RiversÕ works sometimes called Pre-Pop?
Phillip Pearlstein
34. Describe some of the reasons for the return of figurative art.
35. Why can Pearlstein be called a Superrealist?
36. Describe PearlsteinÕs handling of paint on canvas.
Wayne Thiebaud
37. Why do ThiebaudÕs works bridge the gap between Pop art and Abstract Expressionism?
38. Describe the real ÒmotivesÓ behind ThiebaudÕs works.
39. Describe the textural effects of ThiebaudÕs paintings and how they relate to desire.
40. Who were some of the ÒBeatÓ artists and what was their motivation?
41. Why was Marcel Duchamp such a strong influence on ÒBeat GenerationÓ artists?
42. Why was John Cage an important figure in the development of Pop art?
43. How did Cage define Òtotal soundspaceÓ?
44. How were CageÕs ideas incorporated into Merce CunninghamÕs dance routines?
45. Robert Rauschenberg
46. Describe the purpose behind RauschenbergÕs ÒWhite paintings.Ó
47. Describe ÒcombinesÓ.
48. What space were ÒcombinesÓ supposed to represent?
49. What was the importance of found objects in his works?
50. Why were Jasper Johns and Robert Rauschenberg important figures in the Pop art movement?
51. Why were RauschenbergÕs silkscreen paintings an effective medium for the Pre-Pop movement?
52. Discuss Òcompositional confusionÓ in relation to RauschenbergÕs paintings as well as sikscreen and lithograph prints.
53. What types of images were incorporated into RauchenbergÕs silkscreen and lithographic prints and why do they represent a disruption of the hierarchy within fine art?
54. Why was RauschenbergÕs Pelican performance Pop?
Louise Nevelson
55. Why did Louise Nevelson use Òfound objectsÓ in her works?
56. What space is represented in NevelsonÕs works?
Allan Kaprow
57. Define Happenings.
58. Describe a ÒtypicalÓ Happening.
59. How did Kaprow interpret gesture painting?
60. What is Fluxus?
61. Who were the artists connected to Fluxus?
62. Describe an art Installation.
George Segal
63. How does George Segal's The Diner further emphasize the idea in Edward Hopper's Nighthawks (look at the formal elements)?
64. Why are SegalÕs sculptures been described as suspended in Òlonely limboÓ?
65. Describe the effects of the materials and lack of color in SegalÕs installations.
Lucas Samaras
66. What ideas does Lucas Samaras reference in his assemblage?
67. What is the main theme Samaras address in his sculpture?
68. Why are his works fetishistic?
69. How did Oldenberg undermine the identity of objects?
70. Why is his work autobiographical?
71. Describe some of OldenbergÕs interests.
72. Describe the Òfree-associative pathÓ in OldenbergÕs works.
73. What is ÒRay GunÓ?
74. Describe The Store.
75. Why is OldenbergÕs Pie a la Mode the quintessential Pop sculpture?
76. What is the contradiction in OldenbergÕs soft sculpture?
77. Describe the transformation that takes place in OldenbergÕs large-scale sculpture?
Jasper Johns
78. Who inspired Jasper Johns to switch to Òfound objects?Ó
79. Why did Jasper Johns use flags and targets in his paintings?
80. What transformation takes place in Johns sculpture?
81. Why do Johns works Ònot support an iconographic reading?Ó
82. Describe the Encaustic technique.
83. Describe the similarities between JohnÕs works and everyday objects?
84. What was of Òpersisting importanceÓ in Johns works?
85. Which philosopher inspired Johns and in what way?
86. How do his works disrupt our understanding of language?
87. How did Johns change his approach in the later part of his career
88. What were KleinÕs intentions with his monochromatic paintings?
89. How did Klein incorporate performance into his paintings?
90. What was the title of the series of performance paintings?
91. Why was KleinÕs Ritual for the relinquishing of immaterial zones of pictorial sensibility a controversial performance?
92. Describe some of the characteristics of Nouveau Realisme.
Arman
93. What environmental issues are addressed in ArmanÕs Poubelles (Garbage Cans)?
94. How does the interpretation of ArmanÕs work change when garbage is portrayed in conjunction with the female form?
95. Define Òmeta-maticsÓ.
96. What was the point of the Homage to New York?
97. How did chance play a role in the success of the Homage sculpture?
Saburo Murakami
98. What is Gutai and what was their goal?
99. What Japanese traditions were incorporated into Murakami Paper Teaing performance and to what effect?
100. What is Fluxus?
101. What traumas remained at the core of Beuys works?
102. Why were animals important in his works?
103. What did he want to bring to the surface?
104. What materials did BeuysÕ feel would bring about healing?
105. What role does transformation play in his works?
106. What was BeuysÕ stating about art critiques in his performance How to Explain Pictuers to a Dead Hare?
Nam Jun Paik
107. What artistic medium did Nam June Paik develop early in his career?
108. Why did Paik use televisions in his work?
109. How is desire transformed in his TV bra sculpture?
110. What is the purpose of the Stuart Collection and who were some of the artists represented? http://stuartcollection.ucsd.edu/StuartCollection/index.htm
Yoko Ono
111. What did Yoko Ono mean when she stated her work was ÒFabricating consciousnessÓ rather than making art?
112. Describe the poetic and Zen elements in Yoko OnoÕs work as seen in her ÒCut PieceÓ. http://www.youtube.com/watch?v=lYJ3dPwa2tI (link to excerpt from performance)
113. Discuss the dichotomous as well as unifying elements in Yoko OnoÕs ÒCut PieceÓ that support a feminist reading of her performance.
114. Describe the Ònew conditionsÓ that brought about a social/political change in art.
115. Define post-modernism.
116. Briefly define Structuralism.
117. Why were the American Pop artists called Ònon-introspectiveÓ?
118. How did the British Pop artistsÕ mimic mass production?
BRITISH POP
119. Who were the members of the Independent Group of artists in Britain and what was their goal?
120. Who coined the term ÒPop ArtÓ?
121. What were some of the objects in the ÒThis is TomorrowÓ exhibition?
Eduardo Paolozzi
122. Define the semiotic signifier and signified? (from lecture)
123. Define semiotics in relation to PaolozziÕs collage pieces?
124. Discuss the representation of the woman in PaolozziÕs Real GoldÉ piece.
Richard Hamilton
125. Describe the way HamiltonÕs work in his early career influenced his work Just what is it that makes É.
126. How were you supposed to eperience Just what is this . . .artwork?
127. What was he attacking with this work and what were the responses to by the public?
128. Who inspired HockneyÕs coloristic style?
129. Describe the similarities between Hockney and Bacon?
130. What change occurred in HockneyÕs work when he moved to Los Angeles?
131. Describe his use of use35mm film?
132. Describer the formal elements in Henry & Christopher?
133. What are ÒjoinersÓ?
134. How does WesselmannÕs large nude represent Òmass consumer eroticismÓ?
135. What is Wesselmann saying about American woman in Great American Nude?
136. How did Andy Warhol describe himself and how does this attitude relate to his art?
137. How did WarholÕs early career affect his ÒFine ArtÓ career?
138. What type of device did Warhol use to capture accuracy and detail in his paintings?
139. Why did Warhol eliminate the artist hand (how does this relate to question 38)?
140. How are the celebrities in his works transformed?
141. How can the repetition seen in his works be interpreted?
142. How does repetition affect the viewerÕs response to his Disaster Series?
143. What was the name of his studio?
144. Describe the environment in his studio.
145. What famous phrase did Warhol coin?
146. Describe WarholÕs films.
147. How were Warhol and Lichtenstein similar?
148. How did he differ from the Abstract Expressionists?
149. What did he experience that brought about a turning point in his career?
150. Describe his painting process.
151. What term is used to describe the patterns in his paintings?
152. What are the similarities between RosenquistÕs paintings and Surrealism?
153. Why are his works autobiographical?
154. What did he do for a living in the late 50s and how did this inspired his art style?
155. Describe the effects of fragmentation in his images.
156. What term is used to describe the level of illusion in his works?
157. What political event inspired F-111 and how are these events transformed in his artwork?
158. How was Westermann similar to Johns and yet different?
159. How are WestermanÕs works subversive?
160. What death is suggested in WestermannÕs Memorial to the idea of man?
161. What multiple readings can be made of his Death Ship Run Over by a Õ66 Lincoln Continental (fig. 9-30)?
162. Which ÒinstitutionsÓ does Keinholz critique?
163. Describe the political messages in KeinholzÕ works.
164. What terms are used to describe his sculpture?
165. Describe the impact of the materials Keinholz uses on the viewer.
166. What visual element in the L.A. environment influence Ruscha?
167. How does his Large Trademark with Eight Spotlight hover between reality and representation?
168. Describe the POP elements in RuschaÕs paintings.
169. What series if Ruscha known for?
170. Why was Arneson called a ÒFunk ArtistÓ?
171. What materials did use and to what effect?
172. How are his clay works ironic (specifically No Deposit No Return)?
173. How did he describe his sculptures?
174. Why did he use his own face?
175. Why did he incorporate graffiti like marks on his sculpture?
176. You should be able to notice what is Pollock-like about his work (not a question).
177. Briefly describe some of the basic elements of minimalism.
178. How did the Minimalists treat works of art?
179. Why did the Minimalists need texts to accompany their works?
180. Why did Greenberg dislike Minimalism?
181. How did Stella resolve the conflict in Johns works?
182. How does Stella re-define the frame?
183. How were his works political?
184. How were JuddÕs works Utopian in the Minimalist sense (even though he said they were not)?
185. What were his interests and how do these interests translate into sculptural form?
186. What was eliminated in his sculpture?
187. Describe the connection between the gallery space and JuddÕs sculpture, how do they enhance one another.
188. Describe the effects of the environment or interior setting on SmithÕs sculpture.
189. How did he view his sculpture spatially?
190. What did Smith eliminate from the process and why is this controversial?
191. Describe the way Flavin redefined sculpture.
192. How did this view of sculpture incorporate the museum/gallery?
193. What did the light enhance?
194. Describe the connection between Flavin and Rothko.
195. How should you interact with a Morris sculpture?
196. Why did he choose the L shape?
197. Why did he use felt?
198. Describe LeWittÕs views on art?
199. How did he interpret language into his sculpture?
200. Why did Kelly focus on pure color?
201. What techniques did he use to incorporate the museum/gallery space?
202. Describe the effects of hardedge when viewing KellyÕs paintings.