September 5
The Body (continued), Nature, Technology & Jouissance



The Body as Art Material



Chuck Close.  Fanny (Fingerpainting).  120” X 84”. 








Autumn Rhythm

Jackson Pollock. Autumn Rhythm (Number 30). 1950.
Stokstad, Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams, 2005.







Pollock working

Jackson Pollock at work, 1950.



"My opinion is that new needs need new techniques…the modern painter cannot express his age, the airplane, the atom bomb, the radio in the old forms of the Renaissance…the modern artist is living in a mechanical age…working and expressing an inner world- in other words, expressing the energy, the motion, and other inner forces." - Jackson Pollock








Yves Klein. Performance: Anthropometries de l-epoque bleue. 1960.







Janine Antoni. Loving Care. 1992.







Cut Piece

Yoko Ono. Cut Piece. 1965.
Newhall, Edith. "A Long and Winding Road." ARTnews. October 2000: 162 -165.







Andres Serrano.  Piss Christ.  1987.










Couple Wearing Racoon Coats

James Vanderzee. Couple Wearing Raccoon Coats with Cadillac,
Taken on West 127th Street, Harlem, New York. 1932.
Stokstad, Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams Inc., 2005.







James Luna.  The Artifact Piece.  1986.







Kara Walker. Slavery! Slavery! 1997.
Sheets, Hilarie M. "Cut It Out!" ARTnews. April 2002: 1256 -129.



"Walker refuses to see racism as a clear question of 'us versus them.' Instead, she performs a complex excavation of both the psychological and the sociological dimensions of identification." - David Joselit







Kara Walker. Exhibition at the Renaissance Society.  1997.







Betye Saar. The Liberation of Aunt Jemima.  1972.
Butler, Cornelia.  WACK!: Art and the Feminist Revolution.  Los Angeles: The Museum of Contemporary Art, 2007.

"All black people in America want to be slaves just a little bit." - Walker
Kara Walker's work is "sort of revolting and negative and a form of betrayal to the slaves, particularly women and children; that is that it was basically for the amusement and the investment of the white art establishment." - Betye Saar
"These are the slave narratives that were never written. Kara's work takes from fact but also fantasy and throws on its head any notion we might have of good and bad, right and wrong, black and white. There are no clear dichotomies." - Thelma Golden







Gender Issues



Jacques-Louis David.  Oath of the Horattii.  1784.







Barbara Kruger. We don't need another hero. 1987.
Grosenick, Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln. 2005.







Hung Liu.  Trauma.  1989.







Chinese woman with bound feet







Guerrilla Girls.  Want to Earn Big Money in the Art World?  1985.






Guerrilla Girls.  Do Women Have to Be Naked?   1986.







Guerrilla Girls. Do Women Have to Be Naked?   2005.



More Guerrilla Girl poster actions







Kim Dingle.  Priss Room.  1994.







Kim Dingle.  Girls with Dress Pole.  2001.










Head of a Roman Patrician.  Marble.  c. 75 – 50 BCE.







Dorothea Lange.  Migrant Mother.  1936.










Gustave Courbet.  The Stonebreakers.  1849 (destroyed during WWI). 8 1/2' X 5' 3". 







Georges Seurat.  La Grande Jatte.  1884.







Detail of Sunday on La Grande Jatte

Detail of Sunday on La Grande Jatte
Preble, Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice Hall, Upper Saddle River, NJ, 2002.







Barry McGee. Untitled. Detail. 1998 - 2002.










Valley View
Ansel Adams.  Valley View, Yosemite.  c. 1933.
Marien, Mary Warner.  Photography: A Cultural History.  Second edition.  Upper Saddle River, NJ: Prentice Hall, 2006.







Claude Monet. Impression: Sunrise. 1872.
Preble, Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice Hall, Upper Saddle River, NJ, 2002.







Monet.  Water Lily Pool.  1900.







Caspar David Friedrich.  Monk by the Sea.  1808 - 09.



Sublime = lofty, grand or exalted in thought, expression or manner; of outstanding spiritual, intellectual or moral worth; tending to inspire awe usually because of elevated quality







The Slave Ship

Joseph Mallard William Turner. The Slave Ship. 1840.
Tansey, Richard C. and Fred S. Kleine. Gardner's Art Through the Ages. Tenth ed. Vol. 2. Fort Worth: Harcourt Brace College Publishers, 1996. 2 vols.






Spiral Jetty
Robert Smithson. Spiral Jetty. 1970.







Lightning Field

Walter De Maria. The Lightning Field. 1977.



Visiting Walter De Maria's Lightning Field










Blue Period

William Wegman.  Blue Period.  1981.
Fichner-Rathus, Lois.  Understanding Art.  Seventh edition.  Austalia: Thompson Wadsworth, 2004.






William Wegman.  Miss Mit.  1993.







Jeff Koons.  Puppy (installed at Guggenheim Bilbao).  1997.







Walton Ford.  Nila.  1999 - 2000.







Bird in Space

Constantin Brancusi. Bird in Space. 1928?
Preble, Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice Hall, Upper Saddle River, NJ, 2002.







Joissance = enjoyment, or something that gives the subject a way out of its normative subjectivity through transcendent bliss, whatever that may be



Matthew Barney. Cremaster 4: The Loughton Candiddate. 1994.







Cremaster = the muscle that controls the contraction and relaxation of the testes in response to different physical or psychological stimuli like increased temperature or fear
"Biological, social and mythological foundations of selfhood intersect and reflect one another." - David Joselit
Cycle repeatedly returns to period during early sexual development of the fetus when gender has not been decided, a moment of pure potential for Barney
Matthew Barney. Cremaster 4. 1994.
Matthew Barney. Cremaster 1. 1996.
Matthew Barney. Cremaster 5. 1997.
Matthew Barney. Cremaster 2. 1999.
Matthew Barney. Cremaster 3. 2002.
official Cremaster website



Karl Haendel.  $56,055.  2005.  93 X 130”.  Pencil on paper.







Marilyn Minter.  Stepping Up.  2005.







Claudio Bravo.  Package.  1969.  Charcoal, pastel and sanguine.
Fichner-Rathus, Lois.  Understanding Art.  Seventh edition.  Australia: Thomson Wadsworth, 2004.