CULTURE WARS FINAL

You can do this. You are literally so close to being done.

Main

Duchamp, Three Standard Stoppages

1912

Duchamp, Bottle Rack

1914

Duchamp, Fountain

1917

Hausmann, fmsbwt

1918

(text of his sound poem)

Hausmann, Mechanical Head (The Spirit of Our Times)

1919

Hoch, Cut with the Kitchen Knife

1919

(short title is OK!)

Rodia, Watts Towers

1921 - 1954

Overview of site and color photo showing the three towers
Know the details, they will not be highlighted by the presented images.

Pollock, Going West

1934

Evans, Street Scene, Vicksburg, Mississippi

1936

Picasso, Guernica

1937

comparative images for Guernica:
Rubens, The Horrors of War, c.1637
Delacroix, Massacre at Chios, 1824

Rothco, Underground Fantasy

1940

Hopper, Nighthawks

1942

Lange, Oakland, California, March 1942

1942

Lee, Child Tagged for Evacuation, Salinas

1942

Kuniyoshi, Torture

1942

Pollock, Guardians of the Secret

1943

Rockwell, The Four Freedoms

1943

Gottlieb, Totem

1947

Newman, Onement 1

1948

Pollock, Lavender Mist

1950

Newman, Vir Heroicus Sublimus

1950

Rauschenberg, White Painting (Seven Panel)

1951

de Kooning, Woman and Bicycle

1952

Johns, Flag

1954

(the single flag in color)

Rauschenberg, Monogram

1955

Hamilton, Just What is it that Makes Today’s Homes So Different, So Appealing?

1956

Rothko, White and Greens on Blue

1957

comparative images for color field/abstract sublime:
Friedrich, Wanderer above a Sea of Mist, c. 1818
Wright of Derby, Vesuvius, c. 1774

Stella, Telluride

1960

Johns, Map

1961

Warhol, Campbell's Soup Cans

1962

Warhol, Marilyn Diptych

1962

Andrews, Southern Pasture

1963

Bearden, Train Whistle Blues II

1963

Warhol, Little Race Riot

1964

Lichtenstein, I Love You Too, But…

1964

Rockwell, The Problem We All Live With

1964

Sonfist, Time Landscape

1965 - 1978

aerial view of site

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Gammon, Freedom Now

1965

Lichtenstein, Brushstroke

1965

Kosuth, One and Three Chairs

1965

Purifoy, Untitled

1966

Ringgold, The Flag is Bleeding

1967

Heiser, Displaced/Replaced Mass

1969

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Heizer, Levitated Mass

1969 - 2012

As installed at LACMA

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Ringgold, Flag for the Moon: Die Nigger

1969

Smithson, Spiral Jetty

1970

First slide frome series shown

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Art Workers’ Coalition, antiwar poster

1970

Protest at MoMA, NYC (image from My Lai Massacre, Vietnam) and photo of protest in MoMA

Jones-Hogu, Unite

1971

Chicago/Schapiro, Womanhouse

1972

from Womanhouse, 1972 (project organized by Judy Chicago and Miriam Schapiro):
Ironing
Linen Closet
Nurturant Kitchen

Saar, The Liberation of Aunt Jemima

1972

Holt, Sun Tunnels

1973 - 1976

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Ukeles, Hartford Wash

1973

Paired with Ukeles' Touch Sanitation (1978-19980)

Chicago, The Dinner Party

1974 - 1979

(overview from above, and view showing Primordial Goddess place setting in foreground)

Edelson, Woman Rising

1974

Ukeles, Transfer: The Maintenance of the Art Object

1974

(photo of artist at work)

Judd, Untitled (Six Boxes)

1974

(boxes on floor)

Piper, I Embody Everything You Most Hate and Fear

1975

Schapiro, Mary Cassatt and Me

1976

De Maria, New York Earth Room

1977

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Ukeles, Touch Sanitation

1978 - 1980

Paired with Ukeles' Hartford Wash (1973)

Sherman, Untitled Film Still #14

1978

(you don’t need to know the number, just the title as “Untitled Film Still”)

Mapplethorpe, Man in Polyester Suit

1980

Denes, Wheatfield - A Confrontation

1982

Photo with artist in field

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Mapplethorpe, Embrace

1982

Edwards, Gate of Ogun

1983

Mapplethorpe, Ken Moody

1983

Serrano, Piss Christ

1987

Ringgold, Tar Beach

1988

Haring, Untitled

1988

Donaldson, JamPact/JelliTite

1988

The Harrisons, California Wash

1989 - 1996

aerial view

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Gonzales-Torres, Untitled

1989

(billboard with text, Sheridan Square, NYC)

Haring, Unfinished Painting

1989

Chin, Revival Field

1990 - 2012

aerial view

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Wojnarowicz, One Day This Kid…

1990

Gonzales-Torres, Untitled (Perfect Lovers)

1991

Gonzales-Torres, Untitled (Portrait of Ross in LA)

1991

The Harrisons, The World Ocean is a Great Draftsman

2009

comparative material for Earthworks:
Stonehenge, c. 2000 BCE
Great Serpent Mound, Ohio, c. 1000 CE (?)
Olmsted and Vaux, Central Park, mid-19th century

Mapplethorpe, X, Y, and Z Portfolios

2012

Know what the general subject matter of these was

The X, Y, and Z Portfolios (published in 1978, 1978, and 1981, respectively) by American photographer Robert Mapplethorpe (1946–1989) summarize Mapplethorpe’s ambitions as a fine-art photographer and contemporary artist, reflecting the tripartite division of his mature work: homosexual sadomasochistic imagery (X); floral still lifes (Y); and nude portraits of African-American men (Z). Mapplethorpe’s work has consistently provoked strong reactions, notably during the so-called Culture Wars of the 1980s. The exhibition is an opportunity to assess Mapplethorpe’s confrontational photographs—with their paradoxical mix of classicizing, austere form and raw, uninhibited content—through three series that defined not only his artistic career, but also a moment in American cultural politics. The exhibition, together with the Getty Museum’s concurrent In Focus: Robert Mapplethorpe, celebrates the landmark joint acquisition, in 2011, of the Robert Mapplethorpe Archive by LACMA, the Getty Museum, and the Getty Research Institute.

Art Movements

Relevant Terminology