Unit 5 Part 5 148, 150, 151

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1 Unit 5 Part 5 148, 150, 151

#148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls She is a self-taught artist self-proclaimed life-long history of insanity Currently chooses to live in a mental health facility Art historians

2 #148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls She is a self-taught artist self-proclaimed life-long history of insanity Currently chooses to live in a mental health facility Art historians describe her work as: in dialogue with the psychological state known as narcissism Narcissism = the admiration of one's self Narcissus from the Greek mythology fell in love with his own reflection in the water and eventually drowned 7 min Youtube doc 5 min youtube doc choose this one for class

#148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls Originally installed and displayed outside the exhibitors hall at the Venice Biennale He had not been selected 1500

confrontation with one's own vanity and ego Created infinite reflected views of the site Kusama interacted with the site by lying among them and selling them for $2 Put

3 #148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls Originally installed and displayed outside the exhibitors hall at the Venice Biennale He had not been selected 1500 mirrored plastic balls Transformed a public space Same size as a fortune-teller s crystal ball, but when the viewer looks into it they see their own reflection, forcing a confrontation with one's own vanity and ego Created infinite reflected views of the site Kusama interacted with the site by lying among them and selling them for $2 Put signs up with title of work and a sale sign Purposefully wore a gold kimono and silver sash to draw attention to her ethnicity Officials stopped her from selling but left the display

#148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls An infinite reflective field in which the images of the artist, the visitors, the architecture, and the landscape were repeated, distorted, and

4 #148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls An infinite reflective field in which the images of the artist, the visitors, the architecture, and the landscape were repeated, distorted, and projected by the convex mirror surfaces that produced virtual images appearing closer and smaller than reality Interpreted by many as both Kusama s selfpromotion and her protest of the commercialization of art

#148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls Recreated a few times, changed from plastic to stainless steel balls Have become a trophy of prestige and

5 #148 Narcissus Garden YAYOI KUSAMA, 1966, mirror balls Recreated a few times, changed from plastic to stainless steel balls Have become a trophy of prestige and self-importance Originally intended as the media for an interactive performance between the artist and the viewer, the objects are now regarded as valuable commodities for display

6 Enlarged ordinary household items to enormous size I want to get accustomed to recognizing the power of objects. Interested in the power of scale as a property of art Pop artist had a show called The Store Commentary on consumerism A true breakthrough in the history of sculpture Sculpture that is large scale and can be rearranged and interacted with Both Surreal and Pop in nature - Common objects in unusual situations - Mass produced objects

Oldenburg continued the sly humor and irony early American Pop artists Expanded into direct social and political commentary Based on word play, Continuing the Dada interest in the

7 Oldenburg continued the sly humor and irony early American Pop artists Expanded into direct social and political commentary Based on word play, Continuing the Dada interest in the relationship between words and images. Continue the Surrealist strategy of radically increasing the scale of an object in order to experience familiar things in disconcerting and humorous ways

#150 Lipstick (Ascending) on Caterpillar Tracks OLDENBURG, 1969, Cor-Ten steel, steel, aluminum, and cast resin: painted with polyurethane enamel His first large-scale public artwork Commissioned by

8 #150 Lipstick (Ascending) on Caterpillar Tracks OLDENBURG, 1969, Cor-Ten steel, steel, aluminum, and cast resin: painted with polyurethane enamel His first large-scale public artwork Commissioned by a group of Yale architecture students Was a platform for protest speakers against the Vietnam War In a plaza with Yale s presidents office and a WWI memorial Comical combination of phallic and military imagery Originally the lipstick was a drooping red balloon that could be inflated Emphasized the sexual innuendo 3 min video of the installation

9 #150 Lipstick (Ascending) on Caterpillar Tracks OLDENBURG, 1969, Cor-Ten steel, steel, aluminum, and cast resin: painted with polyurethane enamel Not meant to be permanent Was in plaza for 10 months before Oldenburg removed it to make out of metal I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum [ ] I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary [ ].

10 #150 Lipstick (Ascending) on Caterpillar Tracks OLDENBURG, 1969, Cor-Ten steel, steel, aluminum, and cast resin: painted with polyurethane enamel Combined the highly feminine product with the masculine machinery of war Lipstick is both phallic and bullet like Designed to call attention to the absurdity of U.S. military aggression Playfully critiqued both the hawkish, hypermasculine rhetoric of the military and the blatant consumerism of the United States Blurred the lines between public and private, and between the war in Vietnam and culture of the United States

11 Oldenburg and Coojse Van Bruggen Husband and Wife team

12 Oldenberg and van Bruggen

13 #151 Spiral Jetty ROBERT SMITHSON, 1970 Earthwork: mud, precipitated salt crystals, rocks, and water coil Environmental/Earthwork 4 min video Meant to be experienced with all your senses Water has unique red-violet coloration Used only natural materials native to the area One of the quietest places on earth Did not think a photographer or artist could truly capture the natural beauty of earth Did not like trapping nature into a rectangular format Site specific work

#151 Spiral Jetty ROBERT SMITHSON, 1970 Earthwork: mud, precipitated salt crystals, rocks, and water coil Environmental/Earthwork Environmental art such as the spiral jetty should be recognized as

14 #151 Spiral Jetty ROBERT SMITHSON, 1970 Earthwork: mud, precipitated salt crystals, rocks, and water coil Environmental/Earthwork Environmental art such as the spiral jetty should be recognized as the forerunner of many later works meant to elevate consciousness about our being good stewards of the earth 2 hours from Salt Lake City the journey is meant to be part of the work The spiral is both ancient and modern growth patterns of crystals The spiral is every changing (Smithson was deeply interested in entropy and science) and meant to be ever in flux For years it was submerged when the Great Salt Lake rose When it reemerged it was encrusted in salt crystals and filled with red algae Is art you walk on instead of view from a distance

15 Robert Smithson Spiral Jetty Serpent Mound, Ohio 1070 ce

16 Smithson Floating Island Using a trash barge to pull a piece of nature

and sets at the winter and summer solstices.

17 Nancy Holt Sun Tunnels 1978 Four cast concrete, 18 ft. tunnels with open ends aligned with the points on the horizon where the sun rises and sets at the winter and summer solstices. Penetrating the tunnels are holes with diameters of 7 to 10 inches in the patterns of the four constellations of; Capricorn, Draco, Columbia and Perseus

Content Area 4. Early/Mid 20 th Century Architecture to Post-Modern Architecture

Content Area 4. Early/Mid 20 th Century Architecture to Post-Modern Architecture Content Area 4 Early/Mid 20 th Century Architecture to Post-Modern Architecture Early and Mid-Twentieth Century Architecture Ferroconcrete construction-steel reinforced concrete; allows for a complete