Photography out of Conceptual (Pop

1
Photography out of Conceptual (Pop Minimal, and
performance) Art Why has photography moved
from the margin to the center of contemporary
art in the last 40 years?
Barbara Kruger Untitled (You are Not Yourself),
1981
2
Installation view of the 1970 Information
exhibition, MoMA NYC, which marks the
institutional success of text-based Conceptual
art documented by photographs.
3
Joseph Kosuth, One and Three Chairs, 1965, wooden
folding chair, photographic copy of a chair and
photographic enlargement of a dictionary
definition of a chair
4
Gilbert and George, The Singing Sculpture, 1970,
photograph of performance(Gilbert Proesch,
b.1943, Italy George Passmore, b. 1942,
England). Banal photographic documentation of
ephemeral works, like this living sculpture.
Gilbert George with Ginkgo series, British
pavilion Venice Biennale 2005, This series was
included in the 2008 San Francisco G G
retrospective.
5
Denis Oppenheim, Reading Position for Second
Degree Burn, 1970, Stage 1 and Stage 2, book,
skin, solar energy, exposure time 5 hours, Jones
Beach, New York, color photography and collage,
216 x 152 cm . Photographs were there simply to
indicate a radical art that had already
vanished.necessary only as a residue for
communication.
6
Bruce Nauman, Eating My Words, and Self-Portrait
as a Fountain, from Eleven Color Photographs,
1966/67-70, chromogenic color print / performed
for the camera only
7
John Baldessari (United States, b. 1931)
(Father of Pictures Generation)(left) Wrong,
1966-68, acrylic, photo-emulsion on canvas, 59 x
45 in.(right) Astronauts and Businessmen, 1988 ,
photograph with applied paint, Museum of Fine
Art, Houston
8
Ed Ruscha (U.S. b. 1937), Flying A, Kingman,
Arizona, from Twentysix Gasoline Stations, 1963,
photographic book, sold for 3.50 Minimalist and
California Pop (anti)aesthetic serial repetition
and deadpan view of contemporary reality
Book cover
9
Compare Ruschas (1963) vision of the American
West (above) with Ansel Adams interpretation
based on 19th century Romantic landscape
aesthetics, (right) Moonrise over Hernandez, NM.
October 31, 1941. Adams made Art and did not
work in other media.

• Through his deliberate lack of style, Ruscha
  draws attention to the estranged relationship of
  people to their rural environment, but without
  staging or dramatizing the estrangement.

10
Ansel Adams, Grand Tetons and the Snake River,
1942
The artists road trip from California to
Oaklahoma
Albert Bierstadt, The Rocky Mountains, 1863
11
Ed Ruscha, Standard Station, Amarillo, Texas,
1963, oil on canvas, 55 x 10
12
Ed Ruscha took the photographs of Sunset Strip
with a motorized Nikon camera mounted to the back
of a pick-up truck. This allowed him to
photograph every building while driving first
down one side of the street and then the other.
The pictures were then pasted in order they were
shot, and the individual buildings were labeled
with their respective address numbers.
13
(No Transcript)
14
Ed Ruscha, The Old Trade School Building, 2005,
synthetic polymer on canvas 54 x 120 in, from
The Course of Empire Series, US Pavilion, Venice
Biennale, 2005(bottom) Blue Collar Trade
School, 1992, Synthetic polymer on canvas, 54 x
120
15
Robert Smithson, A Tour of the Monuments of
Passaic, New Jersey, 1967 from Artforum, vol.6,
no.4, December 1967, pp. 48-51.
16
Robert Smithson (US Environmental
Artist,1938-1973), Spiral Jetty, 1970, Great Salt
Lake. Earthwork
17
Hans Haacke, detail of Shapolsky et al, Manhattan
Real Estate Holdings, a Real Time System as of
May 1, 1971, 1971, two enlarged photographs, 142
black and white photographs with typewritten data
sheets, six charts and one explanatory panel
18
Bernhard and Hilla Becher Conceptual
(typological) photography(left) Gas Tanks, 1963
(right) Water Towers, 1980, 9 b/w photographs
mounted on board, 62inH overall
19
Thomas Struth (German, b. 1954), Sommerstrasse,
Düsseldorf, 1980, Gelatin silver print, 16 1/2 x
22 1/2 in., Dallas Museum of Art
20
Thomas Struth (Germany, b.1954, student of
Bechers) Shinju-ku (Skyscrapers), Tokyo, 1986
(right) Ferdinand-von-Schill-Strasse, Dessau,
1991
21
Candida Höfer (Germany, 1944, student of Bechers)
(left) Stiftsbibliothek Klosterneuburg III,
2003, C-print, 68 in. HCa' Rezzonico Venezia II,
2003, C-print, 74 in. Width
22
Thomas Ruff (German, b.1958), House 9 II, 1991,
72 in. Hone of series taken in early morning,
apartment blocks in Eastern Germany
23
Thomas Ruff, (left) Portrait, 1989, 63in.
H(center and right) from Portrait series, 2001,
conceptual typologiesabsolute objectivity like
passport photos except for scale
'... Like archetypal passport photos... young
people with dead eyes and empty faces.' Ruff
24
Martha Rosler, detail of The Bowery in Two
Inadequate Descriptive Systems, 1974, 45 black
and white photographs mounted on 24 mat-board
panels, each panel 25 x 56 cm
25
http//www.nytimes.com/interactive/2008/09/05/arts
/rosler-audioss/index.html 2008 New York Times
slide show Rosler talking about her work
1960s-2008
Martha Rosler (US, 1943) Cleaning the Drapes,
from series, Bringing the War Home House
Beautiful, 1967-72
26
Cindy Sherman (US, b.1954) Untitled Film Still
27, 197969 film stills from 1977 (23 years old)
to 1980. She stopped making film stills, she
has explained, when she ran out of clichés.
27
Cindy Sherman, (left) Untitled Film Still 35,
1979 (right) Untitled Film Still 54. 1980
The Museum of Modern Art, New York. 8 x 10
glossies just like real film stills.
"She's good enough to be a real actress. Andy
Warhol
28
Cindy Sherman, (left) Untitled Film Still 37,
(right) UFS 13, 1979
29
(left) Cindy Sherman, Untitled 188, Chromogenic
color print, 43 ½ x 65 ½, 1989 (right) Hans
Bellmer (German, 1902-1975) 'Poupee' (Doll) in
Hayloft, 1935-1936 (historical source for
Sherman)
30
(left) Sherrie Levine (US Postmodern
Appropriation artist, b.1947) Untitled (After
Alexander Rodchenko 9), 1987 (right) Alexander
Rodchenko (Russian Constructivist, avant-garde
modernist), 1891-1956), Portrait of Mother, 1924
Postmodern Appropriation of high art
challenged modernisms key values of
originality and aura. Key text Walter
Benjamin, The Work of Art in the Age of
Mechanical Reproduction http//www.marxists.org/r
eference/subject/philosophy/works/ge/benjamin.htm
31
(left) Sherrie Levine, After Walker Evans, 1981
a photograph of reproduction of a
photograph(right) Walker Evans, Hale County,
Alabama, 1936. (Or is it the other way
around?)Key text Rosalind Krauss The
Originality of the Avant-garde and other
Modernist Myths Post-structuralism
postmodern revision of modern theory
32
Richard Prince (American, born 1949), Untitled
(four single men with interchangeable backgrounds
looking to the right), 1977, Mixed media on
paper, 23 x 19 in. Metropolitan Museum, NYC
33
Richard Prince, (left) Untitled (cowboy), 1981,
Ektacolor photograph, 20 x 24 in (right)
Untitled (cowboy) 1980-84, Ektacolor photograph,
27 x 40 in. Pictures Generation appropriation
from mass visual culture advertising photography
34
Barbara Kruger (U.S. b. 1945), (left) Untitled
(Your Gaze Hits the Side of My Face), 1981,
gelatin silver print, 72 x 48 in. (right)
Untitled (I Shop Therefore I Am), 1987.
Pictures Generation
35
Louise Lawler (American, born 1947), Pollock and
Tureen, Arranged by Mr. and Mrs. Burton Tremaine,
Connecticut, 1984, silver dye bleach print, 28 x
39 in.
36
Jeff Wall (Canadian, 1946), Picture for Women,
1979transparency in light box, approx. 5 x 7ft
37
(left) Jeff Wall, Picture for Women, transparency
in lightbox, 1979, around 5ft x 7ft compare
(right) Edouard Manet, A Bar at the
Folies-Bergère, oil on canvas, 1882 / Art
historical quotation is characteristically
postmodern.
38
(left) Jeff Wall, Picture for Women, transparency
in lightbox, 1979, around 5ft x 7ft compare
(right) Diego Velazquez (Spanish Baroque), Las
Meninas, 1656.scale, complex composition drawing
attention to the unity of reality and illusion,
uncertain relationship between the viewer and the
figures depicted.
39
Jeff Wall (Canada, b. 1946) Installation view of
the exhibition Documenta 8, Kassel, Germany,
1987, showing The Storyteller, cibachrome
transparency, lightbox, 1986
40
Jeff Wall, A Sudden Gust of Wind (After
Hokusai), transparency in light-box, 1993, 7ft x
12ft.
Hokusai, Ejiri in Suruga Province c.1831-3,
woodblock print from series, 36 Views of Fuji,
26 x 38 cm
41
Felix Gonzalez-Torres (American b. Cuba 1957-
NYC 1996), Untitled, 1991. As installed for The
Museum of Modern Art, New York "Projects 34
Felix Gonzalez-Torres May 16 - June 30, 1992 2
of 24 locations throughout New York
City"EMERGING WOR(L)DS" June 2007 - October
2008 http//www.tina-b.com/content.php?akcesect
ionlangenseason2007id12
Gonzalez-Torres represented the United States at
the 2007 Venice Biennale
42
Christian Boltanski (French, b. 1944) Jewish
School of Grosse Hamburgstrasse in Berlin in
1939, 1991, moving photographs, fans, florescent
lamps, dimensions variable http//www.monumenta.c
om/2010/english/monumenta/Monumenta-2010.html
Christian Boltanski at the Grand Palais,
Monumenta 2010
Monument (Odessa), 1989-2003, gelatin silver
prints, tin biscuit boxes, lights, and wire
43
Annette Messager (French, b. 1943) My Vows (Mes
Voeux), 1988-91, gelatin-silver prints under
glass and string, dimensions variable
detail
44
Annette Messager, My Vows, 1990. Gelatin silver
prints and string. Dimensions vary with
installation, approx. 140 x 73 inches. Solomon
R. Guggenheim Museum, 2007 purchase
Catholic votives
45
Pictures PaintersPostmodern, Post-Pop
Painters of Modern LifePostmodern tactics of
pastiche, appropriation of found pictures from
media (low art) and art history (high
art)The return of the real
46
(left) David Salle (US, b. 1952), His Brain,
1984, oil and acrylic on canvas, acrylic on
fabric, two panels, 9 ft 9 in x 8 ft 10 in
overall PICTURES GENERATION(right) compare
Salle with James Rosenquist (US, b. 1933),
President Elect, 1960-1 and (right below) Sigmar
Polke (German, 1941), Alice in Wonderland, 1971
47
David Salle, Comedy, 1995, oil and acrylic on
canvas, two panels 96 1/4 x 144 1/8 inches
overall Solomon R. Guggenheim Museum
48
Eric Fischl (US, b. 1948) Bad Boy, 1981, oil on
canvas, 5ft 6in x 8ftdecadent suburbia
Edgar Degas, Interior,1868-9 Secret brutalities
of middle class lives
49
Eric Fischl, Sleepwalker, 1979, oil on
canvasWhats an adolescent boys masturbation
about anyway if its not, in some sense, a
separation technique? Hes separating from his
parents. Hes becoming aware of himself.
- Fischl
50
Eric Fischl, A Visit to / A Visit from / The
Island, oil on canvas, 1983
51
(left) Eric Fischl, Bedroom Scene 7 (After the
Tantrum, Unholy News) 2004, oil on linen, 65 x 98
in. From photographic series, The Krefeld
Project, For several days two actors posed for
artist in Museum Haus Esters in Krefeld, Germany,
which was designed by Mies van der Rohe in 1928
to be a private home. Furnished for the shoots
by the artist. (right) compare Edouard Manet
(French,1832-1883), In the Garden, 1879, oil on
canvas, 115 x 150 cm The Painter of Modern
Life
52
Eric Fischl, Krefeld Project Dining Room Scene
2, 2003, oil on Linen, 89 x 124 inches.
53
Fischl, Bedroom Scene 1, 2003, from photographic
series The Krefeld Project (2002)(right)
compare Edward Hopper (US, 1882-1967), Hotel
Room, 1931, oil on linen
54
Post-modern painting in Germany
Berlin Wall, November 9, 1989, marking the end of
the Cold War
55
Background Annihilation of Modern Art in Nazi
Germany 1933- 45 and East Germany (Communist)
1945-1989(left) Ernst Ludwig Kirchner (German
Expressionist,1880-1938) Girl Under a Japanese
Umbrella, 1906 (right) Emil Nolde (German
Expressionist, 1867-1956), Excited People, 1910
(below) Degenerate Art Exhibition, Munich, 1937
56
The poster of the Degenerate Music exhibition
(1938). Jewish Composers and Jazz/Swing musicians
were accused by the Nazis of producing
"degenerated music"...
Composition with Blue, 1926Piet Mondrian, oil,
24 in. sq. Degenerate Art
Marc Chagall, Purim, 1916-18, oil, 20 x 28 in,
exhibited in Nazi Degenerate Art Exhibition
57
Good German Art Socialist Realism (only)
58
Joseph Beuys (German, 1921-1986), (left) Fat
Chair, 1964(right) Felt Suit, 1970 (center)
Joseph Beuys the artist "The whole process of
living is my creative act."
First German artist after WW II to achieve
international fame based on exploration of his
German identity art that could not be made in
East Germany.
59
Gerhard Richter, Eight Student Nurses, 1966, oil
on canvas, 8 paintings each c. 36 x 27Use of
media photos like Post-Pop NYC Pictures
Generation
60
Sigmar Polke, Bunnies, 1966, acrylic on linen, 58
x 39 Simulation of Raster dots (commercial
4-color printing)
Lichtenstein, cover of Newsweek, 1966 Ben-Day dots
Warhol, "Marilyn," 1964
61
Jörg Immendorff (b. 1941 Silesia, East Germany),
Can one change anything with these?, 1972,
acrylic on canvas, 20 x 31 ½ in
Joseph Beuys, How to Explain Pictures to a Dead
Hare, 1965, Dusseldorf. Immendorffs teacher
62
Jörg Immendorff, Café Deutschland I, 1978, oil
on canvas, 280 x 320 cm. Utterly dystopic
63
Compare Expressionism of Max Beckmann (left),
Night, 1917-18 with Neo-Expressionism of
Immendorff, Café Deutschland I, 1978What (form
and content) do they have in common?
64
Leipzig group, 2006 from left Tilo Baumgärtel
(b.1972), Christoph Ruckhärberle (b. 1972),
Martin Kobe (b.1973), Matthias Weischer (b.1973),
and David Schnell (b.1971) The New York Times
2006 "Art Stars of the Decade" "If you want
to talk of an advantage, you can say it the
Iron Curtain allowed us to continue in the
tradition of Cranach and Beckmann. It protected
the art against the influence of Joseph Beuys.
- Leipzig AFA professor Arno Rink
The first generation of artists to grow up in the
reunified Germany
65
Max Beckmann (German, 1884-1950), Departure,
1932Leipzigs native son
Beckmann at MoMA NYC, 1947, in front of Departure
66
Lucas Cranach the Elder (German, 1472-1553), The
Golden Age, 16th CenturyProgenitor of Leipzig
tradition in painting
67
Neo Rauch (b. 1960, Leipzig, Germany, lives and
works in Leipzig) shown (2006) in studio before
one of his paintings. Rauch was trained in
communist social realism
68
Neo Rauch, Das Neue (The New), 2003"It is
important to create a definite environment or
stage on which things can happen. For me, the
function of painting as I understand it is to
work with myths. I try to create a widespread
system where impulses are trapped. With an
analytic understanding, you can't grasp it."
Giorgio di Chirico, (Italian 1888-1978)
Philosophers Conquest, 1913 (compare)
69
(right) Neo Rauch, Diktat (Dictation), 2004(left
top) Balthus (French, 19082001) The Mountain,
1937, oil on canvas, 98 x 144 in(left below)
René Magritte (Belgian, 1898-1967), The Menaced
Assassin, 1926
70
Christoph Ruckhäberle (Germany, b.1972), Lake at
Sunset, 2004, oil on canvas, 279 x 381cm
E.L. Kirchner, 1909
Cézanne, 1876
Cribbed from all the best bits of art history
- Saatchi Gallery publicist
71
http//channel.tate.org.uk/media/75472996001
Dexter Dalwood (UK, b.1960), The Umbrella
Murder59 x 81.5, oil on canvas, 2008
72
Dexter Dalwood, Sunny Von Bulow, 2003, oil on
canvas, 105 x 207cm (41 x 81 in)
73
John Everett Millais, Ophelia, 1851, oil on
canvas, Tate LondonPre-Raphaelite source for
Dexter Dalwoods Sunny von Bulow, 2003
74
Luc Tuymans (Belgian, b. 1958), Gas Chamber, oil
on canvas, 1986, 24 x 32 1/2 inIn honor of
Caryl Chessman, who went to the San Quentin
Prison gas chamber in 1960
75
Luc Tuymans, The Secretary of State2005, oil on
canvas, 18 x 24 in