Multiculturalism, Identity Politics, and Post-Medium Assignment

Art448Multiculturalism, Identity Politics, and Post-Medium Assignment
You are to respond to the following three prompts after completing the assigned reading as listed on the Week 13 Information page (there are also links embedded in the second and third prompts). Please do not conduct additional research. You must work on your responses independently and they are to be phrased in your own words. If you quote from the assigned readings, please keep it to a minimum, and include proper citations. Plagiarized responses will not receive credit. Each response should be roughly a paragraph or two in length, single or double-spaced.1. While our focus this week is on Identity Politics, it would be remiss of us to overlook the work of well-known contemporary artists Jeff Koons and Damien Hirst. Briefly address how these artists brought together some of the strategies and aesthetics associated with both Dada and Minimalism in the creation of New Hoover Quadraflex, New Hoover Convertible, Hoover Dimension 900, New Hoover Dimension 1000, 1981-86 (Figure 26.2) and The Physical Impossibility of Death in the Mind of Someone Living, 1991 (Figure 26.6).2. Explain the significance of the 1993 Whitney Biennial (and related controversy) as addressed in the essay by Corbett and Saltz. Then select a work by two of the artists who participated in the 1993 Whitney Biennial (Links to an external site.)3. Many artists working at the turn of the twenty-first century abandoned traditional media and combined elements of numerous media in the production of their artwork. This has resulted in what is often referred to as the Post-Medium condition. Select one of the following artworks to discuss as Post-Medium. Explain the media used in the creation of the work and the subject matter explored: Christian Marclay, The Clock, 2010 (Figure 26.32) or William Kentridge, drawing from Felix in Exile, 1994 (Figure 26.43; click here

History of Modern Art
Selections from Chapter 26:
New Perspectives on Art and Audience
Andres Serrano, Piss Christ, 1987.
Cibachrome, silicone, Plexiglas, wooden frame, 65 × 45-1⁄8 × 3⁄4” (165 × 115 × 1.9
cm) framed; 60 × 40” (152.4 × 101.6 cm) unframed.
Edition of four. [Fig. 26-01]
Jeff Koons, New Hoover Quadraflex, New Hoover Convertible, New Hoover Dimension
900, New Hoover Dimension 1000, 1981–86.
Hoover vacuum cleaners, acrylic glass, and fluorescent light,
8’ 3” × 4’ 5-1⁄2” × 2’ 4” (2.5 × 1.36 × 0.71 m).
Private collection. [Fig. 26-02]
Jeff Koons, Michael Jackson and Bubbles, 1988.
Porcelain, 3’ 6” × 5’ 10-1⁄2” × 2’ 8-1⁄2” (1.06 × 1.79 × 0.83 m).
Sonnabend Gallery, New York. [Fig. 26-03]
Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991
(refurbished in 2006).
Tiger shark, glass, steel, five percent formaldehyde solution,
83-7⁄8 × 204 × 83-7⁄8” (213 × 518 × 213 cm).
Steven A. Cohen Collection, Connecticut. [Fig. 26-06]
Damien Hirst, Pharmacy (detail of restaurant windows with medicine), 1998.
[Fig. 26-07]
Andrea Fraser, Untitled, 2003.
DVD. Friedrich Petzel Gallery, New York. [Fig. 26-08]
Pepon Osorio, La Cama (The Bed), 1987.
Mixed media installation; bed 75 × 67 × 78” (190 × 170 × 198 cm).
Collection El Museo del Barrio. [Fig. 26-10]
Bill Viola, The Theater of Memory, 1985.
Video/sound installation.
Orange County Museum of Art, California. [Fig. 26-13]
Gabriel Orozco, La DS, 1993.
Modified Citroën DS, Fonds national d’art contemporain, Paris. [Fig. 26-21]
Jeff Wall, A Sudden Gust of Wind (After Hokusai), 1993.
Fluorescent light, color transparency, and display case,
7’ 6-3⁄16” × 12’ 4-7⁄16” (2.3 × 3.8 m).
Tate, London. [Fig. 26-24]
Matthew Barney, “The Apprentice,” Cremaster 3, 2002.
Video to film transfer, 182 mins. [Fig. 26-25]
Matthew Barney, Richard Serra as “Fifth Degree,” Cremaster 3, 2002.
Video to film transfer, 182 mins. [Fig. 26-26]
Raymond Pettibon, No Title (The Translators Have), 1996.
Pen and ink on paper, 29-3⁄4 × 22” (75.6 × 55.9 cm). [Fig. 26-27]
Charles Ray, Family Romance, 1993.
Mixed media, 4’ 6” × 8’ × 2’ (1.37 × 2.44 × 0.61 m). [Fig. 26-28]
Christian Marclay, 2822 Records, 1987–2009.
P.S. 1 Contemporary Art Center, Long Island City, NY, part of Performa Biennial
(September 5, 2009 – April 5, 2010). [Fig. 26-31]
Christian Marclay, The Clock, 2010.
Single channel video with stereo sound on 24-hour loop. Paula Cooper Gallery, New York.
[Fig. 26-32]
Kara Walker, Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), 2000.
Cut paper and projection on walls, 11’ 10” × 21’ and 10’ 8” × 32’ 10”
(3.6 × 6.4 and 3.28 × 10 m). Installation view of two walls.
Collection of Solomon R. Guggenheim Museum, New York. [Fig. 26-33]
Vitaly Komar and Aleksandr Melamid, USA’s Most Wanted (Dishwasher Size), 1994.
Oil and acrylic on canvas, dishwasher size. [Fig. 26-34]
Carrie Mae Weems, Untitled (outtake from the Kitchen Table series), 1990–99.
Gelatin-silver print, 29-1⁄4 × 28-1⁄4” (74 × 72 cm). [Fig. 26-39]
Glenn Ligon, Untitled (I Feel Most Colored When I am Thrown Against a Sharp White
Background), 1990–91.
Oil on panel, 6’ 8” × 2’ 6” (203.2 x76.2 cm).
Collection the artist. [Fig. 26-40]
Lorna Simpson, Guarded Conditions, 1989.
18 color Polaroid prints, 21 plastic plaques, plastic letters,
overall dimensions 7’ 7” × 12’ 11” (2.3 × 3.9 m).
Collection Museum of Contemporary Art, San Diego. [Fig. 26-41]
Nan Goldin, C Putting on Her Make-up at the Second Tip, Bangkok, 1992.
Cibachrome print, 30 × 40” (76.2 × 101.6 cm). [Fig. 26-42]
William Kentridge, drawing from Felix in Exile, 1994. [Fig. 26-43]
Fiona Rae, Untitled (Sky Shout), 1997.
Oil and acrylic on canvas, 108 × 96” (274.3 × 243.8 cm).
Private collection. [Fig. 26-46]
Ellen Gallagher, They Could Still Serve, 2000.
Pigment and synthetic polymer on paper mounted on canvas, 10 × 8’ (3 × 2.4 m).
The Museum of Modern Art, New York. Emily and Jerry Spiegel and Anne Marie and
Robert F. Shapiro Funds and Gift of Agnes Gund. 1173.2001. [Fig. 26-47]

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