Seductive Subversion

Betty Friedan is credited with igniting the Second Wave of Feminism in 1963 with her bestselling book, The Feminine Mystique. In it, she articulated the loss of identity experienced by many women who were traditionally only valued in their roles as nurtures of home and children. Friedan called for women to throw out their pots and pans in favor of fulfilling careers in the public realm in order to create their own identities and sense of worth - and many women met the challenge.
Essay 2 now due on Canvas!
We will take time on Wednesday, December 2 to comple course evaluations.











Krasner, Pollock, Greenberg & Frankenthaler

Pollock, Greenberg, unidentified boy, Frankenthaler & Krasner
Helen Frankenthaler was the "Only woman painter of the period who has
consistently dismissed gender as an issue." - Whitney Chadwick











Mountains and Sea

Helen Frankenthaler, Mountains and Sea, 1952. 7' 2" X 9' 8".











The Bay

Robins Wrap

Helen Frankenthaler, The Bay, 1963.

Helen Frankenthaler, Robinson's Wrap, 1974.











Core ideas of Greenberg's Formalism:
  • Concept of the "mainstream" = art history is strictly linear and progressive.  Each new style builds upon its predecessors, making them obsolete

Sunday Afternoon

  • Only one dominant style exists at any given time
    • Any work outside of the dominate style is minor and should not be given consideration
Elaine De Kooning, Sunday Afternoon, 1957.











Sky Cathedral

  • The avant-garde enacted a continuous stripping away of subject matter, illusion and pictorial space

Art can only advance through the elimination of the figure

Louise Nevelson, Sky Cathedral Southern Mountain, 1959.











  • Concrete distinction between high and low art

Pink Flamingo

kitsch = mass produced, low quality, consumer culture












Hudson River Landscape
Looking North
David Smith, Hudson River Landscape, 1951.
Dorothy Dehner, Looking North, 1964.











Woman I


Willem de Kooning, Woman I, 1950 - 1952.
Elaine De Kooning, John F. Kennedy, 1963.


"Elaine de Kooning's comparatively meager institutional recognition as an artist can be attributed to her conscious flouting of the AbEx framework. External factors like her marriage to Willem de Kooning and her role as an Art News critic exacerbated the lack of recognition as an artist, and her adherence to portraiture certainly entailed artistic isolation at that time. From today's point of view, her series of sitting, faceless men seems particularly successful in that it shows the tension between recognition and misrecognition of those portrayed: The more she attempted to represent her male sitters, the more "empty" their faces became. For Willem de Kooning, though, portraits were nothing more than 'pictures that girls made.'" - June Underwood









Elaine de Kooning in Ninth Street studio










Shooting Picture

De Saint Phalle making a shooting painting

Niki de Saint Phalle, Shooting Picture, 1961.
Niki de Saint Phalle creating a shooting picture












Niki de Saint Phalle, Jean Tinguely and Per Olof Utvedt, Hon, 1966.











The Empress
Niki de Saint Phalle, Nana, c. 1965.
Niki de Saint Phalle, The Empress from the Tarot Garden, 1978 - 1998.











Yayoi Kusama, Anatomic Explosion, Wall Street, 1968.











Silver Shoes

Yayoi Kusama, Silver Shoes, 1976.











Infinity Mirror

Yayoi Kusama, Infinity Mirror, 1965.


"If it were not for art, I would have killed myself a long time ago." - Yayoi Kusama




















Vacuuming Pop Art

Martha Rosler, Body Beautiful, or Beauty Knows No Pain: A Woman with Vacuum (Vacuuming Pop Art), 1966 - 1972.











Accession iii

Hang Up
Eva Hesse, Accession III, 1967.
Eva Hesse, Hang Up, 1965 - 1966.



















Rope Piece

Eva Hesse, Untitled (Rope Piece), 1966.