Friday, April 21, 2017


Lynne Hershman Beeson

Lynn Hershman Leeson, Roberta's Construction Chart #2, 1975
Eleanor Antin, Carving: A Traditional Sculpture, 1972  “purposely toy[ing]  with the traditional process of Greek sculptors, who were said to find their ideal form by chipping away at a block of marble and discarding any unnecessary material.” (Antin)
Eleanor Antin, Portraits of the King, 1972
Eleanor Antin, The King, one of three archtypal figures (king, nurse, ballerina) she created in her performances of identity in the early 1970's

Howardena Pindell, Stills from Free, White, and 21, 1980. The Kemper Museum writes, "Presenting a strong statement against discrimination, the video draws attention to stereotypical racial roles and the ways in which people of color are expected to perform and behave. The contentious dialogue between these two women also functions as a critique of the notion of “Woman” employed in the feminist debates of the 1970s, which tended to overlook the impact of differences of class and race." 

Hannah Wilke, S.O.S Starification Object Series: An Adult Game of Mastication”, 1974-5
Hannah Wilke, SOS, 1974-5

Hannah Wilke, single chewing gum sculpture in plexi box, 1974-5

Martha Rosler, Semiotics of the Kitchen, 1975

Carolee Schneeman, Interior Scroll, 1975

Faith Ringgold, The Flag is Bleeding, 1997
Chicago, Judy: <em>The Dinner Party</em>
Judy Chicago and many others, The Dinner Party,  1979

Judy Chicago and many others, The Dinner Party,  1979

from Wikipedia
Feminist campaigns are generally considered to be one of the main forces behind major historical societal changes for women's rights, particularly in the West, where they are near-universally credited with having achieved women's suffragegender neutrality in English,reproductive rights for women (including access to contraceptives andabortion), and the right to enter into contracts and own property.[5]Although feminist advocacy is and has been mainly focused on women's rights, some feminists, including bell hooks, argue for the inclusion ofmen's liberation within its aims because men are also harmed by traditional gender roles.[6] Feminist theory, which emerged from feminist movements, aims to understand the nature of gender inequality by examining women's social roles and lived experience; it has developed theories in a variety of disciplines in order to respond to issues such as the social construction of gender.


Cindy Sherman
Cindy Sherman, Untitled Film Still #3, 1977
Cindy Sherman – Untitled Horrors Moderna Museet Trajectoire magazine de luxe suisse genève
Cindy Sherman, Untitled (#153), 1985

Cindy Sherman, Untitled (#224), 1990

Lorna Simpson, Five Day Forecast (1988)

Lorna Simpson, The Clocktower, The PArk, The Cloud, as installed at the Whitney Museum, 2007
Barbara Kruger, Untitled (your body is a battleground)1989

Barbara Kruger, You invest in the divinity of the masterpiece, 1982

Jenny Holzer, 1980's
Jenny Holzer, You are a Victim, 1980's

Jennie Holzer
Carrie Mae Weems, Kitchen Table Series, 1990

today's generation
kara Walker, Slavery! Slavery! 1997, Brooklyn Art Museummore info here

“I find that I am rewriting History, trying to make it resemble me, Kara (and me, negress) but doing it in little bits and pieces. It’s a monomaniacal undertaking, but there is a lot of (white, patriarchal) damage to undo. I mean that’s the only way history is written anyway, in little pieces. I would have preferred to make up my own Mythology and make it stick as effectively as those ante- and post-bellum characters have in the collective unconscious, or to make up stories as influential as the American Revolution and its heroes and ideals. But alas, I’ve got only myself, the Penny Empire of me to work with, so that’s what I do.”

Kara Walker, “Kara Walker,” interview by Ali Subotnick, Make, 92 (Special Edition 2002): 25-27.

“The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven", from Slavery, Slavery, Kara Walker, 1997

Kara Walker, Subtlety, or, the Marvelous Sugar Baby, 2014

Kara Walker - A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant


Janine Antoni, Gnaw, 1992

Janine Antoni, Butterfly Kisses, 1996

Janine Antoni, 
Miranda July
and many more

Monday, April 17, 2017

Abstract Expressionism and the New York School

Aaron Douglas, Aspects of Negro Life, 19-33), 1934 84" x 96"

Jacob Lawrence, During World War I there was a great migration north by southern African Americans,… (19-35), 1940

Diego Rivera, Man, controller of the Universe, (19-36), 

Kahlo, Two Fridas, (19-37), 1939
         Billy Childish,
         Abstract Expressionism, Action Painting, Color Field Painting, Modernism vs. modernism, Kitsch

Pollock, Autumn Rhythm (number 30), 1950 (20-3), 

Willem de Kooning, Woman 1 (20-5),  1950

Rothko, Brown, Blue, Brown on Blue, 1953

Lee Lee Krasner, The Seasons, 1957 (204)

Josef Albers, Homage to a Square, about 1956

         Helen Frankenthaler, Mountains and Sea, 1952 ()

Louise         Louise  Nevelson, Sky Cathedral (20-8) 1958

                   Robert  Rauschenberg, Canyon,  (20-9) 1959

“I consider the text of a news­paper, the detail of a photograph, the stitch in a baseball, and the filament in a light bulb as fundamental to the painting as brush stroke or enamel drip of paint. In the end, what one sees as my work is what I choose to make with no guaran­tee of enlightenment, humor, beauty or art.”
                   Jasper Johns, Target with Four Faces, (20-10)

Oh, Jeff...I Love You, Too...But....jpg

                   Roy    Lichtenstein, Oh, Jeff…. I love you too…. but…. 1964 (20-13)

                   Andy   Warhol, Marilyn Diptych,  1962 (20-14)
                      Pop Art, Postmodernism, Assemblage, Performance Art, Appropriation