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Contemporary art - Coggle Diagram

- - - - Cut Piece, 1964
        -”A form of giving, giving and taking. It was a kind of criticism against artists, who are always giving what they want to give. I wanted people to take whatever they wanted to , so it was very important to say you can cut wherever you want to.” -Yoko Ono 1967
        
        The performance was within the audience as she had them approach her and cut pieces of her clothes off. Her performance shows how the artist cannot control how the audience will react.
    - - Up to and Including Her Limits, 1973
        
        -”He said we can be friends equally tho we are not artists equally” -Kitch’s Last Meal
        
        -Yves Klein Anthropométrie
        
        Interior Scroll, 1975
  - - - Shozo Shimamoto
        
        This artist creates an abstract painting with their body. While the final artwork on the canvas may not be seen as performance work the action it takes to create it is the performance in itself.
        
        The idea of this artist artwork being a work of performance art and not just a 2d painting can be related back to Rosalind Krauss’s reading but in relation to performance art. What I mean by this is that in these paintings the act of painting with your body pulls the audience in as they watch you create it. Rosalind said that as we open to what sculptures are the boundary of it lessens, this is happening here in performance art as this artist mixes media.
    - - Sandwoman, 1983
      - Her artwork contains her putting the body in various environments. As simply as "Sandwoman" or difficault and intricate as "Blood and Feathers", 1974
  - - - “Life is a life sentence;
      - Life is passing time;
      - Life is freethinking.” Tehching Hsieh
      - In 1973 he created Jump Piece. This was one of his first performance artworks. Unless he tested his endurance while jumping from a second-floor window. Jumpy's consists of a series of photographs documenting his jump as he flung himself out of a second story window onto the concrete. This distance is roughly 15 ft and when he landed he broke both his ankles.
  - - - Up To and Including Their Limits, 2020
        
        -Homage to Carolee Schneemann, from a trans nonbinary perspective
        
        Becoming an Image, 2012 - present; Becoming an image is a continuous piece. With each live performance this artist performs it generates a series of still images. These images depict Heather sweating and jumping through the air as the main force in this piece.
    - - Household, performance documentation
        
        1964, happenings
        
        Yard,1961
        
        Alan created artworks that were based on the environment, situations, and spaces. This performance piece yard, is a Sentimental piece that he has recreated many times. In this artwork he creates an immersed environment of tires in which the audience interacts. The work contains a high element of play within the audience and him himself but within boundaries that Allen has prefixed by stopping the space at certain points, in this recreation it was ended by walls.
  - - - Acrilic paintings large and abstract
      - Created by placing canvas on floor
        
        Carol Rosenburg referred to this as action painting
        
        Autumn Rhythm, 1950
      - Motion in the brush strokes and splatters, his paintings read almost as if it was a dance
- - - - Descension, 2015 Brooklyn Bridge Park
        
        This sculptural piece of artwork is situated at Pier 1 in Brooklyn Bridge Park. It is a large continuously spiraling funnel of water. The artist Kapoor is known for his large outdoor sculptures, and public artworks. His work tends to create some form of Engagement with the space he is using and its limits of perception.
    - - Minimalist Sculptural artist- has a good connection with creating their autonomy and while still being vastly open to the viewer's perspective
      - Yellow Swing, 1965
      - His art can be read as many little pieces put together or as one large object. "doesn't rely on anything but itself"
  - - - Metal box- " my kid could do that" was omne of the first critics to his art
        
        Judd was considered a critic more than an artist at certain points during his minimalistic journey, and he never stopped hating the minimalistic label.
        
        “The main virtue of geometric shapes is that they aren't organic, as all art otherwise is.”
        
        The space between each unit of metal box is equal to the height of these boxes. They are all evenly spaced in relation to the space it is set up in.
      - A minimalist artist who works with geometric shapes to create a space with no meaning. He saw minimalist art as it is simply a creative and yet complex. As he said " a work only needs to be interesting"
- - - - Working for rights of artists
  - - - -Philip Guston was a Canadian-American artist who utilized a simplistic cartoon style in juxtaposition with his subject matter.
      - -Much of Guston’s later work focused on investigating racism, and the American identity
      - -In 2020 the Philip Guston Now exhibition was postponed, many artists quickly rallied to see the show return to its original schedule, while others discussed how the museums must change first, before Guston’s artwork can be shown with proper respect.
- - - - “See, it would seem, could possibly give to such a motley of effort the night to lay claim to whatever one might mean by the category of sculpture. Unless, that is, the category can be made to become almost indefinitely malleable”
        
        This reading describes how while mediums are expanding and the term art is being used more openly that what is defined as sculpture has become more broad.
      - “ over the last ten years rather surprising things has come to be called sculpture: narrow corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert”
    - - "a critical essay Judd began writing in 1964 gave him the opportunity to present his side of the story. “Specific Objects” was published in 1965 in Arts Yearbook 8."
        
        "three-dimensionality is not as near being simply a container as painting and sculpture have seemed to be, but it tends to that. But now painting and sculpture are less neutral, less containers, more defined, not undeniable and unavoidable. They are particular forms circumscribed after all, producing fairly definite qualities."
  - - - This article was a clinical study of race and Colonial and counters. "Black Skin White Mask” is the book that the chapter fact of Blackness is from. The "white masks" is supposed to describe anxiety felt by a person of color when being stared at by a "colonizer" or a white being. This book was a major influence during the Civil Rights Movement and anti-colonial black conscious movement around the world. Is a book about the black psyche in this white world or as he calls it. The author Frantz Fanon was applauded for the scientific analysis that he held within these chapters.
        
        “Context of colonization black people have nothing, but while white people have everything. There is a desire to be white but is not transhistorical or Universe of what specific to configuration of power”
    - - Black West, Thoughts on art in Los Angeles
        
        This reading discusses the idea that a black artist must represent the black community or the Discrimination they face. As it mentions the AFRI-COBRA established guidelines that are very specific to how a black artist must create art for it to be seen as good.
        
        Kellie Jones
      - Flusser Form and Material :
        
        "There are in fact two different ways of seeing and thinking: the material and the formal. The Baroque period was material: The sun is really at the centre, and stones really fall according to a formula. (It was material and, for precisely that reason, not materialistic.) Our period is more formal: The sun at the centre and the equation of free fall are practical forms."
      - Art and Objecthood
        
        "The space corresponds." Against such "multipart, inflected" sculpture Judd and Morris assert the values of wholeness, singleness, and indivisibility-of a work's being, as nearly as possible, "one thing," a single "Specific Object," Morris devotes considerable attention to "the use of strong gestalt or of unitary-type forms to avoid divisiveness"; while Judd is chiefly interested in the kind of wholeness that can be achieved through the repetition of identical units."
        
        Michael Fried's art criticism defines the late modernism in the visual arts.
        
        You can not pull a story from many minimalist pieces, they tend stand on their own. Due to this it is sometimes found harder to enjoy them
        
        "their autonomy and while still being vastly open to the viewer's perspective"
    - - Kyle Chayka writes about the artists Donald Judd, Richard Wollheim, and the origins of what we now describe as minimalist.
      - the word minimalist has been retrofitted to include such architects just in the past few decades.
        
        "Judd was annoyed that art critics kept labeling him a minimalist. He felt the term was totally irrelevant to his work. To Judd, “minimalism” was just a lazy shortcut, a useless word writers used to oppress artists. Minimalism was just a marketing scheme that made difficult, complex artwork more palatable, dumbing it down."
        
        "Frank Stella, a New York painter who became famous for his series “Black Paintings,” with even-sized black stripes running across large canvases in monumental patterns, put it another way: “What you see is what you see.”"
    - - NICOLE R. FLEETWOO
      - The article marking time art in the age of mass incarceration was published on April 28th of 2020 during the recent surge in the black lives matter movement. This article discusses how there is beauty in these often painful images that she shows, and that these images are reclaiming the visual idea of what it means to be imprisoned.
        
        “[Fleetwood] brings together an impressive array of paintings, sculptures, murals, and photos that speak to the impact of incarceration on American life…In amplifying the stories of those marked by incarceration, she makes visible the individuals and families the carceral state has tried so hard to disappear and silence.”―Los Angeles Review of Books
        
        "I use the term "prison art" instead of "prisoner art" because I think the former is more capacious and expansive and also includes art made in collaboration with nonincarcerated artists. It is a term that attempts to destigmatize incarcerated artists while gesturing at the ways that incarceration reaches far beyond prison walls and the ways that mass imprisonment impacts aesthetics and culture more broadly."