Centro de Histria da Arte e Arqueologia39

inicial    |    o centro    |    publicações    |    eventos    |    biblioteca   |    blog    |    warburg

Mini-Curso: Experimentation and Collaboration in Post-War American Art
Experimentação e Colaboração na Arte Americana do Pós-Guerra

Expositor: Prof. Vincent Katz

vincentkatz

Veja a bibliografia - (atualizada)

Artigo de John Ashbery sobre Brice Marden

Fotografia do professor com os participantes do curso

Currículo do prof. Vincent Katz

 

OBS: o curso será oferecido em português

A partir do dia 03, às quartas-feiras de agosto, às 14h30, no Laboratório de Imagem e Som - LIS / DAP / IA - A entrada fica ao lado da do Centro de Convenções.

Clique abaixo para outras informações, fotos e imagens.
 
 
 
Programa detalhado do curso a ser oferecido pelo professor Vincent Katz
 
     In four classes, we will study how experimentation and collaboration played key roles in the establishment of an international center of the art world in New York City. We will begin in the first class learning about Black Mountain College, an institution founded in rural North Carolina by independent academics with no governing board. Determining that arts education should be central to their program, they got in touch with Josef Albers, who had been teaching at the Bauhaus until it was closed by the Nazis in 1933. The same year, he agreed to come teach at Black Mountain with his wife, the artist Anni Albers. During the following years, such figures as Robert Motherwell, Willem de Kooning, Clement Greenberg, Franz Kline, John Cage, Merce Cunningham, Robert Rauschenberg, Cy Twombly, and John Chamberlain, were at Black Mountain. Black Mountain always maintained strong contacts with New York City, with the Museum of Modern Art in particular. We will discuss how experimentation was the prime value stressed at Black Mountain, and how that led to artistic innovations ultimately recognized by exhibitions in New York and elsewhere for many of the artists associated with the college, which closed in 1956. In the second class, we will examine in detail important aspects of Abstract Expressionism — how this movement had roots in Surrealism and in the work of the Mexican Muralists, how the key figures, including Pollock, de Kooning, Kline, and Gorky, developed their styles, through which they changed the course of art in their time. We will also discuss some lesser known artists of that movement, including women, who sometimes had a hard time gaining recognition. In the third class, we will focus on the 1960s, a decade of diverse developments. At a time when Abstract Expressionism was on the wane, and the American economy and culture were in the ascendancy worldwide, some art work exposed the fragile underbelly of the American Dream, while other work seemed to reflect that Dream back at itself, resulting in images of absurdity, banality and occasional lyricism. The work of Rauschenberg and Jasper Johns gained great acclaim, along with Happenings and Pop Art (the latter sometimes called Neo-Dada). A little later, Minimalism and Conceptual Art became dominant forces. At the same time, artists who were more difficult to categorize, including Alex Katz, Chuck Close, and Brice Marden, became well known for their diverse approaches. In the fourth class, we will discuss a period of “Bringing Back,” the 1980s and 1990s. In the 1980s, Neo-Expressionism and Neo-Geo were two movements that brought back the use of the figure and expressionistic techniques, on the one hand, and an interest in geometry and pattern on the other. In the 1990s, Neo-Neo-Dada and Neo-Conceptualism came to the fore in the work of artists like Jeff Koons, Damien Hirst, and Richard Prince. At the same time, the hegemony of New York as the single center of the art world began to disintegrate.
     
 
 
Aula 01
 
 
Imagens
001 002 003
John Andrew Rice, Black Mountain College, 1930s Porch of Lee Hall, Blue Ridge Campus Black Mountain College (1933-41) Aerial view of Lake Eden campus, 1945, with Studies Building
     
004 005 006
Black Mountain College: View of Studies Building north of lake. Erected with student and faculty labor in 1940-41. Background, Black Mountains (6000 feet). Jalowetz Cottage A. Lawrence Kocher architect “Interior of Jalowetz cottage, with Albers drawing above fireplace (mad of transite — asbestos cement — also used on outside of Studies Building — inexpensive material)” photo & caption by A. Lawrence Kocher
     
07 008 009
Faculty Portrait, Black Mountain College, Summer 1946 Josef Albers, Design Class, example of paper folding to produce spatial movements Josef Albers, Open (B), 1940 oil on Masonite, 19 7/8 x 19 5/8 inches
     
010 011 012
Josef Albers, Untitled. Abstraction, ca. 1942, pencil on paper, 8 1/2 x 5 1/2 inches Josef Albers, Escape, 1942 drypoint, edition 20, 5 1/2 x 8 inches Anni Albers, Hardware Necklace, ca. 1940 washers and ribbon
     
013 014 015
Anni Albers. Untitled, 1934. Rayon, linen, cotton, wood, and jute, 21 x 46 inches. Miriam French, student, weaving, BMC photograph by Claude Stoller Herbert Bayer, Xanti Schawinsky, Walter Gropius Ascona, 1933
     
016 017 018
Xanti Schawinsky, Poster for Olivetti, 1934 color lithograph, 20 1/16 x 13 3/5 inches Xanti Schawinsky, Spectodrama: Play, Life, Illusion (1924-37) performed at BMC 1936-37, photocollage of Part IV, Scene 1 Amédée Ozenfant, Crazy Rocks, 1945 oil on canvas, 50 4/5 x 26 inches
     
019 020 021
Amédée Ozenfant, Black Mountain, 1945 Location unknown Lyonel Feininger, Manhattan Skyscrapers, 1942 ink on paper, 21 3/8 x 15 1/4 inches Ilya Bolotowsky, Upright in Gold and Violet, 1945 oil on canvas, 41 x 21 7/8 inches
     
022 023 024,
Kenneth Noland, Untitled, 1947 Oil on masonite, 24 x 15 inches Kenneth Noland. Black Mountain College, 1950 Summer Session in the Arts. Photograph by Jacqueline Gourevitch. John Cage at piano, 1948 Photograph by Clemens Kalischer.
     
025 026 027
Merce Cunningham in a solo at Black Mountain College, 1948. Photograph by Hazel Larsen Archer. Merce Cunningham and Viola Farber in Banjo, 1953 photograph by Arnold Eagle Willem de Kooning, Asheville, 1948 oil and enamel on cardboard, 25 9/16 x 31 7/8 inches
     
028 029 030
Elaine de Kooning, Black Mountain Number 6, 1948 enamel on paper mounted on canvas, 13 1/2 x 16 1/4 inches Clemens Kalischer, The Ruse of Medusa, Buckminster Fuller and Merce Cunningham, BMC, 1948 Beaumont Newhall, Buckminster Fuller Architecture Class (with Elaine de Kooning), 1948
     
031 032 033
Buckminster Fuller Architecture Class (Fuller, Wm. Joseph, Elaine de Kooning, Rudy Burckhardt) Summer Session, BMC, 1948, photograph by K. Snelson Buckminster Fuller Architecture Class. 1949 Summer Institute. 31 Great circle necklack structure of tubular beads and continuous internal cable net. Buckminster Fuller Architecture Class. 1949 Summer Institute. 31 Great circle necklack structure of tubular beads and continuous internal cable net.
     
034 035 036
Buckminster Fuller with Model, BMC, Summer, 1949 photograph by Masato Nakagawa Kenneth Snelson, Tension Structure, Stage I, 1948 iron wire and plasticene, 55 cm high, not extant Richard Lippold, Variation within a Sphere No. 6, 1948 stainless steel, brass and enameled wire, 8 x 8 x 8 inches
     
037 038 039
Ray Johnson and Richard Lippold at Monroe St. Studio, 1953. Ray Johnson. Untitled (F.X. Profumo), ca. 1948-1980. Collage, 20 1/2 x 15 1/2 x 1 1/2 inches. Ray Johnson. Untitled (Black Mountain College), ca. 1953-1959 – 1980. Collage, ink on cardboard panel, 20 x 13 x 1 1/2 inches.
     
040 041 042
Ray Johnson. Untitled, 1953. Inks, paint, paper board mounted on board, 14 3/4 x 13 3/8 inches. Ray Johnson. Untitled (Dear Josef Albers), 1991-1992. Collage, 10 x 6 1/4 x 1/8 inches. Ray Johnson, A Shoe (John Cage Shoes), 1977 shoes with painted addition, 12 x 8 3/4 x 5 1/4 inches
     
043 044 045
Ray Johnson, cover for New Directions 1957 edition of Rimbaud’s Illuminations Susan Weil, Secrets, 1949 pencil, collaged paper, 10 2/5 x 10 2/5 inches Robert Rauschenberg, Untitled, 1952 (large detail) exposed blueprint paper, 18 x 16 inches
     
046 047 048
Helen Frankenthaler and Clement Greenberg. Black Mountain College, 1950. Photograph by Julie Amino. Helen Frankenthaler At Black Mountain, 1950 Ink on paper, 8 1/2 x 11 inches. Theodoros Stamos, Beyond The Mountains Number 1, 1950 oil on canvas, 86 1/4 x 41 inches
     
049 050 051
Theodoros Stamos, Greek Orison,1952 Oil on canvas, 67 x 27 inches Leo Amino and Theodoros Stamos. Black Mountain College, 1950. Photograph by Julie Amino. Leo Amino, Twopiece Unit, 1970 Black and mylar plastic, 14 1/2 x 14 1/2 x 3 1/2 inches.
     
052 053 054
Robert Motherwell. Black Mountain College, Summer Arts Institute, 1945. Robert Motherwell, Abstract Composition, ca. 1945 watercolor and graphite on paper, 12 3/8 x 10 3/8 inches Robert Motherwell. Málaga, 1950. Oil on board, 14 x 18 inches.
     
055 056 057
Robert Rauschenberg preparing Mardi Gras costume at BMC photograph by Trude Guermonprez Robert Rauschenberg, Untitled (Night Blooming), c. 1951, oil, asphaltum, gravel on canvas, 82 x 38 1/2 inches Robert Rauschenberg White Painting (Seven Panels), 1951 Oil on canvas, 72 x 125 inches
     
058 059 060
The Dancer, 1951, poem by Joel Oppenheimer drawing by Robert Rauschenberg, printed at BMC by JO and J. Williams, Jargon 2 Katherine Litz By Available Light, Summer 1951. Photograph by Teri Dick Modlin. Jonathan Williams, Charles Olson Writing The Maximus Poems Black Mountain College, 1951, gelatin silver print
     
061 062 063
Ellen Cornfield in Merce Cunningham’s Minutiae (1954) set by Robert Rauschenberg photograph by Herb Migdoll Viola Farber in Summerspace, 1958 choreography by Cunningham, design by Rauschenberg music by Morton Feldman, photograph by Richard Rutledge Cy Twombly, Untitled, 1951 oil-based house paint on canvas, 24 x 30 inches
     
064 065 066
Cy Twombly, Untitled, 1951 oil-based house paint on canvas, 40 x 48 inches Cy Twombly Untitled, 1951 Bitument and oil-based house paint on canvas, 49 1/2 x 54 1/4 inches Cy Twombly. Min-oe, 1951. Bitumen, oil-based house paint on canvas, 34 x 40 inches.
     
067 068 069
Hazel Larsen Archer. Quiet House Doors, 1948. Gelatin silver print, 9 1/2 x 6 5/8 inches. Franz Kline, Painting, 1952 oil on canvas, 65 x 41 3/4 inches Franz Kline, Untitled, c. 1952 ink on telephone-book paper, 10 3/4 x 9 inches
     
070 071 072
William McGee and Franz Kline, 1952. Photograph by William McGee. Jack Tworkov, House of Rocks, 1953 Oil on canvas, 50 x 45 inches. Jack Tworkov, Untitled, 1952. Oil, charcoal, crayon on paper, 24 1/4 x 38 1/4 inches.
     
073 074 075
Jack Tworkov, New York, 1953. Photograph by Rudy Burkhardt. Esteban Vicente, Number 5, 1950 Oil on canvas, 35 1/8 x 45 1/4 inches. Esteban Vicente, Midwest, 1953 oil on canvas, 48 x 36 inches
     
076 077 078
Esteban Vicente, Black Mountain, 1976 Collage of charcoal on paper mounted on cardboard, 11 x 8 1/4 inches. Peter Voulkos, Vase, 1956 Stoneware, brushed slip and glaze, wheel thrown and slab construction, 39 1/2 x 17 x 13 inches Dorothea Rockburne, Black Mountain College, ca. 1950-53
     
079 080 081
Dorothea Rockburne with Jorge Fick Black Mountain College, ca. 1950-1953 Photograph by Marie Tavroges Letter for Melville by Charles Olson, 1951, printed at Black Mountain College. This by Charles Olson, 1952, cover by Nicholas Cernovich, printed by Nicholas Cernovich at Black Mountain College Graphics Workshop.
     
082 083 084
Charles Olson, “words are wonders” ca. 1951-54 typescript with black ink notations, 11 x 8 1/2 inches Jonathan Williams, Portrait of the Artist as a Spanish Assassin Robert Creeley at BMC, 1954, gelatin silver print The Immoral Proposition by Robert Creeley, Autumn 1953, Jargon 8. Drawings by René Laubiès, edition of 100, printed in Germany.
     
085 086 087
The Black Mountain Review. Volume 4. Winter 1954. Cover by Katue Kitasono. Robert Creeley, All That Is Lovely In Men 1955, Jargon 10 Drawings by Dan Rice, Photograph by Jonathan Williams Jonathan Williams, Dan Rice and Robert Creeley BMC, 1956 gelatin silver print
     
088 089 090
John Chamberlain, Untitled, 1955 Steel, 21 x 8 x 9 inches on an iron base. John Chamberlain, Untitled, 1955 Steel, 18 x 15 x 8 inches on a wooden base John Chamberlain, Untitled, 1955 Steel, 18 x 15 x 8 inches on a wooden base
     
091 092 093
Fielding Dawson, Charles Olson, 1956 ink on paper collaged on board, 12 x 12 inches Cy Twombly, Left to Right: Robert Rauschenberg, 1952-1999; Franz Kline, 1952-1999; John Cage, 1952-1999 Dry prints, each 17 x 11 inches Cy Twombly, Left: Bay of Naples, 1994-1999 Right: Peonies, 1980-1990 Dry prints, each 17 x 11 inches
     
094 095 096
Robert Rauschenberg, Merce, 1952 Gelatin silver print, 19 15/16 x 16 inches Robert Rauschenberg, Portfolio II, 1952 Portfolio of 6 gelatin silver contact prints mounted to rag board Robert Rauschenberg, Portfolio II, 1952 Portfolio of 6 gelatin silver contact prints mounted to rag board
     
097 098  
Robert Rauschenberg, Portfolio I, 1952 Portfolio of 7 gelatin silver contact prints mounted to rag board Robert Rauschenberg, Portfolio I, 1952 Portfolio of 7 gelatin silver contact prints mounted to rag board  
     
     
Fotos do curso
     
grupo aula01 aula01-02
     
     
     
Vídeos
Pequenos trechos da primeira aula do prof. Vincent Katz.
 
 
 
     
     
     
     
     
     
     
Aula 02
 
 
Imagens
01 02 03
"The Irascibles," New York, 1950. Front row, from left: Theodoros Stamos, Jimmy Ernst, Barnett Newman, James C. Brooks, Mark Rothko. Middle Row: Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin. Back row: Willem de Kooning, Adoph Gottlieb, Ad Reinhardt, Hedda Sterne Joan Miró, The Tilled Field, 1923-4 Oil on canvas, 66 x 92.7 inches Solomon R. Guggenheim Museum, New York Joan Miró, The Birth of the World, 1925 Oil on canvas, 250.8 x 200 cm Museum of Modern Art, New York
     
04 05 06
Joan Miró, Still Life with Old Shoe, 1937 32 x 46 inches (81,3 x 116,8 cm) Museum of Modern Art, New York André Masson, The Wing, 1925 Oil on canvas, 55 x 38 inches André Masson, The Horse Butcher, 1928 Oil on canvas, 73 1/2 x 92 1/2 inches
     
07 08 09
André Masson. Dans le tour du somneil (In the Tower of Sleep), 1938, The Baltimore Museum of Art André Masson, Sorciers, 1961 Oil on canvas, 51 1/8 x 38 1/8 inches, 130 x 97 cm Thomas Hart Benton. Ballad of the Jealous Lover of Lone Green Valley, 1934 42 x 52 inches
     
10 11 12
Thomas Hart Benton, Hollywood, 1937 Thomas Hart Benton, Trail Riders, 1964-65 José Clemente Orozco, Dive Bomber (Bombardero de picada), 1940 Removable mural, Fresco, Museum of Modern Art, New York
     
13 14 15
José Clemente Orozco, Puente de Queensborough, 1932 Oil on canvas David Alfaro Siqueiros, Nacimiento del fascismo, 1934 Piroxilina / masonite David Alfaro Siqueiros, Explosion en la ciudad, 1935 Piroxilina / masonite
     
16 17 18
David Alfaro Siqueiros, Collective Suicide, 1936 Lacquer on wood with applied sections, 49" x 6' (124.5 x 182.9 cm) David Alfaro Siqueiros, Eco del llanto, 1936 Duco / masonite Siqueiros con algunos de sus discipulos - entre ellos Jackson Pollock - en su taller experimenta. Nueva York, EE.UU. 1936.
     
19 20 21
Jackson Pollock, Woman, ca. 1930-33, oil on the rough side of Masonite, 14 x 10 1/2 inches Jackson Pollock, The Flame, ca. 1934-38, oil on canvas mounted on board, 20 1/2 x 30 inches, Museum of Modern Art, NY Jackson Pollock, Two Sections of Panel With Four Designs, ca. 1934-38, oil on Masonite, 7 3/4 x 27 inches
     
22 23 24
Jackson Pollock, Bird, 1941, oil and sand on canvas, 27 3/4 x 24 1/4 inches, Museum of Modern Art, NY, gift of Lee Krasner in memory of Jackson Pollock Jackson Pollock, [Composition With Pouring II], 1943, oil and enamel on canvas, 25 x 22 inches, Hirshhorn Museum and Sculpture Garden Jackson Pollock, Totem Lesson 1, 1944, oil on canvas, 70 x 44 inches
     
25 26 27
Jackson Pollock, Eyes In The Heat, 1946, oil on canvas, 54 x 43 inches, Peggy Guggenheim Collection, Venice Jackson Pollock, Number 13A, 1948: Arabesque, 1948, oil and enamel on canvas 37 x 9 ft., 8 1/2 inches, Yale University Art Gallery Jackson Pollock, Number 32, 1950, 1950, enamel on canvas, 8 ft. 10 inches x 15 ft., Kunstsammlung Nordrhein-Westfalen, Düsseldorf
     
28 29 30
Rudy Burckhardt photograph of Pollock painting Number 32, 1950, Springs, New York 1950 Lee Krasner in Hans Hofmann’s studio, early 1940s Still-life model at the Hans Hofmann School of Fine Arts, 1948, photo by Rudolph Burckhardt
     
31 32 33
Lee Krasner, Composition, 1939, oil on canvas, 30 x 24 inches, National Museum of American Art, Smithsonian Lee Krasner, Image Surfacing, 1945-46, oil on canvas, 27 x 21 1/2 inches Lee Krasner, Painting No. 19, 1947-48, oil and enamel on Masonite, 32 1/4 x 34 1/4 inches
     
34 35 36
Lee Krasner, Blue and Black, 1951-53, oil on canvas, 58 x 82 1/2 inches, Museum of Fine Arts, Houston Lee Krasner, The City, 1953, oil and paper collage on Masonite, 48 x 36 inches Lee Krasner, Prophecy, 1956, oil on cotton duck, 58 x 34 inches
     
37 38 39
Arshile Gorky, Garden In Sochi, 1941, gouache on paper, 13 3/4 x 17 3/4 inches Arshile Gorky, Garden In Sochi, 1941, oil on canvas, 31 x 39 inches, Museum of Modern Art, NY Arshile Gorky, The Liver Is The Cock’s Comb, 1944, oil on canvas, 72 x 98 inches, Albright-Knox Art Gallery
     
40 41 42
Arshile Gorky, Painting, 1944, oil on canvas, 69 3/4 x 65 3/4 inches, Peggy Guggenheim Collection, Venice Arshile Gorky, The Betrothal, 1947, oil on canvas, 50 5/8 x 39 1/4 inches, Yale University Art Gallery Willem De Kooning, Dish With Jugs, ca. 1921, Conté crayon, stompe, 19 3/4 x 25 3/8 inches (50.1 x 64.4 cm)
     
43
Pablo Picasso, Guernica, 1937, oil on canvas, 349 cm × 776 cm (137.4 in × 305.5 in), Museo Reina Sofia, Madrid Willem de Kooning, Untitled (The Cow Jumps Over the Moon), 1937-38 Oil on masonite, 20 1/2 x 36 5/8 inches Willem de Kooning, Study Of Woman, 1942, pencil, 7 x 5 inches
     
46 47 48
Willem de Kooning, Summer Couch, 1943 Oil on board, 36 x 51 inches Willem de Kooning, Orestes, 1947 Enamel and paper on board, 24 1/8 x 36 1/8 inches Willem de Kooning, Painting, 1948 Enamel and oil on canvas, 42 5/8 x 56 1/8
     
49 50 51
Willem de Kooning, Asheville, 1948 oil and enamel on cardboard, 25 9/16 x 31 7/8 inches Willem de Kooning, Night Square, ca. 1949, enamel on cardboard mounted on composition board, 30 x 40 inches Willem de Kooning, Excavation, 1950 Oil on canvas, 81 x 100 1/4 inches
     
52 53 54
Willem de Kooning, Black And White Abstraction, 1950, Sapolin enamel, 21 1/2 x 29 inches (54.6 x 73.6 cm), collection Mr. and Mrs. Harold Rosenberg Willem de Kooning, Woman 1, 1950-52 Oil on canvas, 75 7/8 x 58 inches Willem de Kooning, Easter Monday, 1956, oil on canvas, 96 1/4 x 73 7/8 inches, Metropolitan Museum
     
55 56 57
Willem de Kooning, Door To The River, 1960, oil on canvas, 80 x 70 inches (203.2 x 177.8 cm), Whitney Museum Willem de Kooning, Clam Diggers, 1964, oil on paper mounted on composition board, 20 1/4 x 14 1/2 inches Elaine de Kooning, Black Mountain Number 6, 1948 enamel on paper mounted on canvas, 13 1/2 x 16 1/4 inches
     
58 59 60
Elaine de Kooning, Bullfight, 1961 Oil on canvas, 30 x 57 inches Franz Kline, Seated Figure, ca. 1947, ink and crayon on paper, 8 1/2 x 6 3/4 inches Franz Kline, ‘47 Series No. 4, 1947, oil and ink on paper, 22 x 28 inches
     
61 62 63
Franz Kline, Untitled, ca. 1948, oil and collage on paperboard mounted on wood, 28 1/2 x 22 1/4 inches, Hirshhorn Museum and Sculpture Garden Franz Kline, Untitled, 1948, brush and ink on paper, 23 x 30 inches, Hirshhorn Museum and Sculpture Garden Franz Kline, Untitled, 1948, oil on canvas mounted on Masonite, 38 1/4 x 29 1/2 inches, Guggenheim Museum, New York
     
64 65 66
Franz Kline, Untitled, 1950, oil on canvas, 11 x 8 1/2 inches Franz Kline, Study For “High Street,” 1950, oil on telephone book paper, 9 x 10 7/8 inches Franz Kline, High Street, 1950 Oil on canvas, 58 1/8 x 77 1/2 inches
     
67 68 69
Franz Kline, Untitled, c. 1952 ink on telephone-book paper, 10 3/4 x 9 inches Franz Kline, Untitled, 1951, oil on canvas, 78 x 71 inches Franz Kline, Painting, 1952 oil on canvas, 65 x 41 3/4 inches, Wadsworth Atheneum
     
70 71 72
Franz Kline, Siegfried, 1958, oil on canvas, 103 x 81 inches, Carnegie Museum of Art Franz Kline, King Oliver, 1958, oil on canvas, 99 x 77 1/2 inches Franz Kline, Black And White No. 2, 1960, oil on canvas, 89 1/2 x 60 3/4 inches
     
73 74 75
Mark Rothko, Intimations Of Chaos, 1945, oil on canvas, 95.9 x 70.5 cm Mark Rothko, Untitled, 1948, oil on canvas, 152.5 x 126.5 cm, Sammlung Beyeler, Basel Mark Rothko, Number 10, 1949, oil on canvas, 154.3 x 74.3 cm
     
76 77 78
Mark Rothko, Untitled, 1949, oil on canvas, 206.7 x 168.6 cm, National Gallery of Art, Washington Barnett Newman, Untitled, 1945, ink on paper, 20 x 15 inches (50.8 x 37.8 cm), Metropolitan Museum of Art Barnett Newman, Untitled, 1945, oil on canvas, 36 x 24 1/4 inches (91.4 x 61.6 cm)
     
79 80 81
Barnett Newman, Untitled (The Break), 1946, ink on paper, 36 x 24 inches (91.4 x 61 cm), Centre Georges Pompidou, Paris Barnett Newman, Untitled, 1946, oil on canvas, 30 x 24 inches (76.5 x 61.1 cm), IVAM, Valencia Barnett Newman, Dionysius, 1949, oil on canvas, 67 x 49 inches (170.2 x 124.5 cm) National Gallery of Art, Washington
     
82 83 84
Adolph Gottlieb, Oedipus, 1941, oil on canvas, 85 x 65 cm Adolph Gottlieb, Mariner’s Incantation, 1945, oil, gouache, tempera, casein on canvas, 99.5 x 74.5 cm Adolph Gottlieb, Sounds At Night, 1948, oil and charcoal on linen, 120.5 x 150 cm
     
85 86 87
Adolph Gottlieb, Ascent, 1958, oil on linen, 225 x 150 cm Philip Guston, Bombardment, 1937-38, oil on wood, 46 inches in diameter Philip Guston, Porch II, 1947, oil on canvas 62 1/2 x 43 inches, Munson-Williams-Proctor Institute
     
88 89 90
Philip Guston, To B.W.T., 1952, oil on canvas, 48 1/2 x 51 1/2 inches Philip Guston, Fable II, 1957, oil on paper on board, 24 5/8 x 35 3/4 inches Philip Guston, Close-Up III, 1961, oil on canvas, 70 x 72 inches, Metropolitan Museum of Art
     
91 92 93
Philip Guston, The Studio, 1969, oil on canvas, 48 x 42 inches Clyfford Still, May 1944 (Jamais), 1944, oil on canvas, 65 x 32 1/4 inches (165.3 x 81.9 cm), Peggy Guggenheim Collection, Venice Clyfford Still, Untitled (originally titled Self-Portrait), 1945, oil on canvas, 71 x 42 inches (180 x 106.5 cm), San Francisco Museum of Modern Art, gift of Peggy Guggenheim
     
94 95 96
Clyfford Still, 1946 No. 1 (Untitled, 1946), 1946, oil on canvas, 66 3/4 x 44 1/2 inches (169.5 x 113 cm), Metropolitan Museum of Art Clyfford Still, 1947-R No. 2, 1947, oil on canvas, 105 x 92 inches Clyfford Still, 1949-F, 1949, oil on canvas, 80 x 65 inches (203.2 x 165.1 cm)
     
97 98 99
Mark Tobey, The Promenaders (Written In The Air), 1945, tempera on cardboard, 53 x 38 cm Mark Tobey, Meditative Series VIII, 1954, tempera on paper, 44.2 x 28.6 cm Mark Tobey, Stained Glass, 1956, tempera on paper, 35.5 x 22.5 cm
     
100 101 102
Robert Motherwell, Abstract Composition, ca. 1945 watercolor and graphite on paper, 12 3/8 x 10 3/8 inches Robert De Niro, Venice at Night, 1942-43 oil on canvas, 38 x 44 inches Robert De Niro, Still Life With Portrait Bust, 1956, oil on canvas, 37 1/2 x 35 1/2 inches
     
103 104 105
Helen Frankenthaler, At Black Mountain, 1950, ink on paper, 8 1/2 x 11 inches Helen Frankenthaler, Mountains and Sea, 1952 Oil on canvas, 7' 2 5/8" x 9' 9 1/4" National Gallery of Art, Washington Helen Frankenthaler, The Bay, 1963 Acrylic on canvas
     
106 107 108
Helen Frankenthaler Theodoros Stamos, Beyond The Mountains Number 1, 1950, oil on canvas, 86 1/4 x 41 inches Theodoros Stamos, Delphic Shibboleth, 1959 Oil on canvas, 60 x 50 inches
     
109 110 111
Theodoros Stamos, Adam, 1961 Oil on canvas, 68 x 56 inches, 172.7 x 142.2 cm Theodoros Stamos, Soundings 1, 1962 Oil on canvas, 60 by 30 inches, 152.5 by 76 cm Theodoros Stamos, Edge of Burning Bush (A), 1986 Acrylic on canvas, 62 x 50 inches
     
112 113 114
Cy Twombly, Untitled, 1951 oil-based house paint on canvas, 24 x 30 inches Cy Twombly, Untitled, 1951 oil-based house paint on canvas, 40 x 48 inches Esteban Vicente, Midwest, 1953 Oil on canvas, 48 x 36 inches
     
115 116
Esteban Vicente, Untitled, 1958 Oil on canvas, 48 x 60.2 inches Esteban Vicente, Nº 6, 1961 Oil on canvas, 50.8 x 66 cm / 20 x 26 inches Esteban Vicente, Primavera Series: Red Form Collage
     
118 119 120
Esteban Vicente, Noon, 1982 Lithograph, 21-3/4 x 29-1/2 inches Jack Tworkov, Choir, 1951 Oil on canvas, 45 1/8 by 41 7/8 inches Jack Tworkov, Sirens, 1951 Oil on canvas, 44 1/4 x 36 1/2 inches Walker Museum of Art, Minneapolis, MN
     
121 122 123
Jack Tworkov, Adagio, 1953, oil on canvas, 80 x 28 inches, Metropolitan Museum of Art Joan Mitchell, Untitled, ca. 1950, oil on canvas, 69 x 72 inches, collection of Barney Rossett Joan Mitchell, Untitled, 1951 Oil on canvas, 72 x 78 inches, 182.8 x 198.1 cm
     
124 125 126
Joan Mitchell, Untitled, 1952 Oil on canvas, 63 3/4 x 44 1/2 inches, 161.9 x 113 cm Joan Mitchell, City Landscape, 1954-55, oil on canvas, 80 x 80 inches, Art Institute of Chicago Joan Mitchell, Untitled, 1957 Oil on canvas, 240 x 220 cm
     
     
Fotos do curso
ft01 ft02 ft03
     
     
Vídeos
Pequenos trechos da segunda aula do prof. Vincent Katz.
 
 
     
     
     
     
     
Aula 03
 
 
Imagens
01 02 03
Cy Twombly, Rome (The Wall), 1958. Oils, enamel, graffiti, and charcoal on canvas, 240.7 x 200 cm, Turin, Galleria Civica d’Arte Moderna. Cy Twombly, Untitled (New York City), 1968. Oil based house paint and wax crayon on canvas, 172.7 x 216 cm. Private collection Jasper Johns, Numbers in Colors, 1958-1959. Encaustic on canvas, 170 x 130 cm. Buffalo, Albright-Knox Art Gallery
     
04 05 06
Jasper Johns, False Start, 1959
Oil on canvas. 67 1/4 x 54 inches
Jasper Johns, Figure 5, 1960
Oil on canvas, 183 x 137.5 cm
Paris, Centre Pompidou
Jasper Johns, Painting with Ruler and "Gray", 1960. Oil and collage on canvas with objects, 81.3 x 81.3 cm
     
07 08 09
Jasper Johns, Good Time Charley, 1961. Encaustic on canvas with objects, 96.5 x 61 cm. Private Collection Jasper Johns, Target, 1961
Oil on canvas, 152 x 152 cm
Vienna, Museum Moderner Kunst Stiftung Ludwig
Jasper Johns, Fool's House, 1961-62. Oil on canvas with objects. 72 x 36 inches. Collection of Jean-Christophe Castelli, on loan to the Walker Art Center, Minneapolis
     
10 11 12
Jasper Johns, Out the Window Number 2, 1962 Jasper Johns, Skin with O'Hara Poem, 1963/1965. National Gallery of Art Robert Rauschenberg, Charlene, 1954. Combine painting: oil, charcoal, paper, fabric, newspaper, wood, plastic, mirror, and metal on four Homosote panels, mounted on wood, with electric light. 7 feet 5 inches x 9 feet 4 inches x 3 1/2 inches (226.1 x 284.5 x 8.9 cm)
Stedelijk Museum, Amsterdam
     
13 14 15
Robert Rauschenberg, Minutiae, 1954. Combine: oil, paper, fabric, newspaper, wood, metal, plastic, with mirror on string, on wood structure. 7 feet 1/2 inch x 6 feet 9 inches x 2 feet 6 1/2 inches (214.6 x 205.7 x 77.5 cm)
Created as set for Merce Cunningham Dance Company's Minutiae, 1954. Collection of the artist
Robert Rauschenberg, Aenfloga, 1961. Combine painting: oil on canvas, with wood, metal, and wire. 6 feet 1 inch x 4 feet 2 inches x 1 foot 1 3/4 inches (185.4 x 127 x 34.9 cm)
Collection of Mr. and Mrs. Abraham Sherr, New York
Robert Rauschenberg, Story, 1964. Combine painting: oil, pencil, paper, fabric, printed paper, printed reproductions, wood, metal, and string on two wood panels. 8 feet 10 inches x 8 feet 1 inch x 5 1/8 inches (269.1 x 246.1 x 13 cm). Created during performances of Merce Cunningham Dance Company's Story (London, 1964). Art Gallery of Ontario, Toronto
     
16 18 19
Robert Rauschenberg, Homage to David Tudor, 1961. Theatre de l'Ambassade des Etats-Unis, Paris, June 20 1961. Rauschenberg: collaborator with Niki de Saint Phalle, Jasper Johns, Jean Tinguely, and Tudor. Pictured: Rauschenberg creating the Combine painting "First Time Painting". Tudor is at piano under cloth. Photos by Harry Shunk. Merce Cunningham Dance Company, Story, 1963
Tokyo, November 1964.
Rauschenberg: set, costume and lighting designer. Pictured: Carolyn Brown, John Cage, and Cunningham.
Deborah Hay (Judson Dance Theater), Victory 14, 1964
First New York Theater Rally, abandoned television studio, Broadway and 81st Street, New York, May 1965. Rauschenberg: performer. Pictured: Dick Robbins, Rauschenberg, Hay, and Steve Paxton. Photo by Elisabeth Novick.
     
20 21 22
First New York Theater Rally, abandoned television studio, Broadway and 81st Street. Pictured: Rauschenberg. Photo by Peter Moore. Five New York Evenings, Moderna Museet, Stockholm, September 1964. Pictured: Rauschenberg. Photos by Stig. T. Karlsson. Once Again Festival, parking lot, University of Michigan, Ann Arbor, September 18, 1965. Pictured: Lucinda Childs and Rauschenberg. Photo by Peter Moore.
     
23 24 25
Robert Rauschenberg, Pyramid Series, 1974. Embossed paper and fabric, each approx 6 feet 6 inches x 2 feet 5 inches. Collection of the artist Merce Cunningham Dance Company, Travelogue, 1977
Rauschenberg: set and costume designer. Pictured: members of the ensemble. Photo by Johan Elbers.
Merce Cunningham Dance Company, Travelogue, 1977
Rauschenberg: set and costume designer. Pictured: members of the ensemble. Photo by Charles Atlas.
     
26 27 28
Merce Cunningham Dance Company, Travelogue, 1977
Rauschenberg: set and costume designer. Pictured: members of the ensemble. Photo by Charles Atlas.
Trisha Brown Company, Glacial Decoy, 1979. Rauschenberg: set and costume designer. Pictured: Brown, Nina Lundborg, and Lisa Kraus. Photo by Babette Mangolte. Trisha Brown Company, Glacial Decoy, 1979
Rauschenberg: set and costume designer. Pictured: Nina Lundborg and Lisa Kraus. Photo by Babette Mangolte.
     
29 30 31
Trisha Brown Company, Glacial Decoy, 1979. Rauschenberg: set and costume designer. Pictured: Brown, Nina Lundborg, and Lisa Kraus. Photo by Babette Mangolte. Trisha Brown, Man Walking Down the Side of a Building, 1970 Claes Oldenburg, Sports, 1962
     
32 33 34
Jim Dine, Green Suit, 1959
Mixed-media assemblage: Oil, cardboard, and a man's corduroy suit. 65 5/8 x 28 3/4 inches (166.7 x 73 cm). Private Collection, New York
Jim Dine wearing the costume from his The Smiling Workman and standing in The House, an environment in the exhibition Ray Gun held at the Judson Gallery, New York, January 4 - March 23, 1960. Photo by Robert R. McElroy Jim Dine in a performance of Car Crash, Reuben Gallery, New York, November 1-6, 1960. Photo by John G. Ross.
     
35 36 37
Jim Dine, Hair, 1961
Oil on canvas, 72 x 72 inches (182.9 x 182.9 cm)
Collection of Reinhard Omnasch, Berlin
Jim Dine, A Universal Color Chart, 1961. Oil and wood strip on canvas, 70 1/4 x 60 inches (178.4 x 152.4 cm). Collection of Sydney and Frances Lewis Jim Dine, Blonde Hair, 1961, mixed-media collage:
oil and wood plank on canvas, 65 3/4 x 50 1/4 inches
(167 x 127.6 cm), Metropolitan Museum of Art
     
38 39 40
Jim Dine, Hatchet with Two Palettes, Slate No. 2, 1963
Mixed media assemblage: Oil on canvas, with wood post, metal chain, and axe
6 feet x 4 feet 6 inches x 1 foot (182.9 x 137.2 x 30.5 cm)
Collection of Robert E. Abrams
Jim Dine, Two Shovels, 1962
Oil on canvas, two shovels, 122 x 213 cm
Private collection
Jim Dine, Three-Panel Study for a Child's Room, Summer 1962
Mixed-media assemblage: Oil, charcoal, children’s rubber raincoat on wire hanger, toy car, model train, Popeye doll, metal book, and two toy guns on canvas
7 feet x 6 feet 3/8 inch (213.4 x 183.8 cm)
The Menil Collection, Houston
     
41 42 43
Jim Dine, Five Chicken Wire Hearts (for James Peto), 1969/98. Mixed-media assemblage: Chicken wire, canvas, rock salt, tree branches, rope, electric cords, gloves, electric sander, rake, electric drill, clamp, lightbult in socket, extension cords, electric grinder, mop, broom, rubber boots, and rubber raincoat. Dimensions variable.
Private collection, New York
James Rosenquist, I Love You with My Ford, 1961
Oil on canvas, 210.2 x 237.5 cm
James Rosenquist, Blue Spark, 1962. Oil on canvas with bamboo fishing pole, mixed media, 48 by 61 inches
     
44 45 46
Roy Lichtenstein, Little Aloha, 1962
Acrylic on canvas, 112 x 107 cm
Andy Warhol, Orange Car Crash, 1964. Acrylic resin and serigraphy on fabric, 220 x 210 cm. Turin, Galleria Civica d’Arte Moderna Andy Warhol, still from Empire, 1964. 16mm film transferred to video (black and white, silent)
8 hours 5 min. at 16 frames per second
     
47 48 49
Tom Wesselman, Great American Nude #44, 1963
Acrylic and paper collage on board with radiator, telephone, coat and door. 81 1/8 x 105½ in. (206 x 268 cm)
Red Grooms, Blewy II, 1971
Offset silkscreen, 23 3/4 x 34 1/4 inches
Red Grooms, Local, 1971
Lithograph from No Gas portfolio, 22 x 28 inches
     
50 51 52
Red Grooms, Taxi Pretzel, 1971
Lithograph from No Gas portfolio, 22 x 28 inches
Red Grooms, Ruckus Manhattan, Girls, Girls, Girls, 1975-76
Mixed media, 108 x 192 inches
Red Grooms in collaboration with Mimi Gross, and the Ruckus Construction Company
Red Grooms, Ruckus Manhattan: Brooklyn Bridge, 1975-76
Mixed media, 192 x 144 x 372 inches. Red Grooms in collaboration with Mimi Gross, and the Ruckus Construction Company
     
53 54 55
Red Grooms, Times Square in the Rain, 1976
Ink on paper, 38 x 50 inches
Bob Thompson, The Assistance Of A Woman, 1960,
oil on canvas, 61 x 71 inches
Fairfield Porter, Laurence Typing, 1952, oil on canvas,
40 x 30 inches, Parrish Art Museum
     
56 57 58
Fairfield Porter, Katie And Anne, 1955, oil on canvas,
80 x 62 inches, Hirshhorn Museum and Sculpture Garden
Alex Katz, Four Children, 1951-52. Oil on board, 18 x 18 inches (45.7 x 45.7 cm) Alex Katz, Irving And Lucy, 1958
Oil on canvas, 152.4 x 152.4 cm
     
59 60 61
Alex Katz, Frank O’Hara, 1959-60
Oil on wood, 60 x 15 inches
Alex Katz, Black Dress, 1960
Oil on linen, 72 1/4 x 84 1/2 inches
Alex Katz, October No. 1, 1962, oil on canvas,
69 1/2 x 49 inches (176.5 x 124.5 cm)
     
62 63 64
Alex Katz, The Cocktail Party, 1965. Oil on linen, 72 x 96 inches (182.9 x 243.8 cm) Alex Katz, Ada with Bathing Cap, 1965
Oil on linen, 60 x 72 inches
Alex Katz, White Lilies, 1966
Oil on linen, 93 x 79 1/2 inches
Milwaukee Art Museum
     
65 66 67
Alex Katz, One Flight Up (front), 1968. Oil on aluminum, 68 x 18 x 48 inches. Collection of the artist Alex Katz, Alex, 1968
Oil on aluminum, 71 3/8 x 18 1/2 x 4 1/2 inches
Alex Katz, Impala, 1968
Oil on linen, 72 x 109 inches
Cleveland Museum of Art
     
68 69 70
Alex Katz, Self Portrait with Sunglasses, 1969. Oil on linen, 96 x 72 inches. Virginia Museum of Fine Arts, Richmond Alex Katz, Ada with Nose, 1969
Cutout: oil on aluminum, 71 1/2 x 72 inches
Collection of the artist
Alex Katz, Private Domain, 1969
Oil on linen, 114 x 234 inches
Daros Foundation
     
71 72 73
Philip Pearlstein, Superman, 1952
Oil on canvas, 40 x 36 inches
Philip Pearlstein, Uprooted Tree, 1957
Oil on canvas, 48 x 60 inches
Philip Pearlstein, Two Female Models, One Reclining, One Seated, 1961
Oil on canvas, 36 x 44 inches
     
74 75 76
Philip Pearlstein, Torso, Female Nude, 1963
Oil on canvas, 36 x 44 inches
Philip Pearlstein, Two Nudes with Back of Painting, 1965
Oil on canvas, 72 x 60 inches
Philip Pearlstein, Portrait of Mr. and Mrs. Pommer, 1968
Oil on canvas, 72 x 60 inches
     
77 78 79
Janet Fish, Box Oranges, 1969
Oil on canvas, 48 x 72 inches
Janet Fish, Two Boxes Lemons A&P, 1971
Oil on canvas, 36 x 72 inches
Rackstraw Downes, Maynard Fenwick's Farm Pond, 1973
Oil on canvas, 23 x 46 inches (58.4 x 116.8 cm)
Mr. and Mrs. Edward Byron Smith Jr.
     
80 81 82
Rackstraw Downes, Oxen and Draft Horses, 1974
Oil on canvas, 13 1/2 x 46 1/2 inches (34.3 x 118.1 cm)
J.P. Morgan Chase Art Collection
Chuck Close, Big Self-Portrait, 1967-68. Acrylic on canvas, 107 1/2 x 83 1/2 inches (273.1 x 212.1 cm). Walter Art Center, Minneapolis Chuck Close, Self Portrait, 1968
Pencil on paper, 29 1/8 x 23 inches (74 x 58.4 cm)
Private Collection
     
83 84 85
Chuck Close, Joe, 1969
Acrylic on canvas, 108 x 84 inches (274.3 x 213.4 cm)
Osaka City Museum of Modern Art, Japan
Chuck Close, Keith, 1970
Acrylic on canvas, 108 1/4 x 84 inches (275 x 213.4 cm)
The Saint Louis Art Museum
Chuck Close, Self Portrait, 1977
     
86 87 88
Robert Ryman, Windsor 20, 1966. Acrylic on canvas, 194.5 x 194.5 cm. Private collection Robert Ryman, Untitled (Surfeice Veil), 1970. Oil on fiberglass panel, 50.5 x 50.5 cm
Private collection
Robert Mangold, Red Panel, 1964
Oil on canvas on plywood on metal, 61 x 76 cm
Wiesbaden Museum
     
89 90 91
Robert Mangold, W Series Diagonal II, 1968. Acrylic on masonite, 122 x 244 cm
Private collection
Robert Mangold, 1/4 V Series, 1968. Acrylic on masonite, 122 x 122 cm
Private collection
Brice Marden, Untitled, 1963
Oil on paper mounted on canvas
20 3/4 x 27 3/4 inches (52.7 x 70.5 cm)
     
92 93 94
Brice Marden, Blunder, 1969
Oil and wax on canvas, 182.8 x 182.8 cm
Private collection
Brice Marden, Rodeo, 1971
Oil and wax on canvas, 244 x 244 cm
Los Angeles, Collection Lannan Foundation
Agnes Martin, The Islands, 1961
Acrylic and graphite on canvas, 182.9 x 182.9 cm
Private collection
     
95 96 97
Frank Stella, Valparaiso Flesh, 1964
Painting metallic powder on canvas, 243.8 x 279.5 cm
Private collection
Robert Morris, Untitled, 1967
16 steel boxes, 92 x 92 x 92 cm each
Donald Judd, Untitled, 1963, exhibited example fabricated 1975, Light cadmium red oil on wood and purple lacqeur
48 1/16 x 83 x 48 1/16 inches
     
98 99 100
Donald Judd, Untitled, 1965, Chartreuse oil on wood and yellow enamel on iron, 19 1/2 x 48 1/16 x 34 inches Donald Judd, Untitled, 1966
Plexiglas and stainless steel, 50.8 x 121.9 x 86.4 cm
Stuttgart, Froelich Collection
Donald Judd, Untitled, 1969, Copper
10 units, each 9 1/16 x 40 x 31 inches
     
101 102 103
Richard Artschwager, Chair/Chair, 1965
Formica and wood, 106.7 x 111.8 x 45.7 cm
Private collection
Dan Flavin, Monument 12 for V. Tatlin, 1964
Florescent daylight tubes, 220 x 62 x 10.5 cm
Carl Andre, 100 Magnesium Square, Dusseldorf, 1970
100 magnesium plates, 20 x 20 x 8 cm each
Rivoli (Turin), Castello di Rivoli Museo d’Arte Contemporaneoa, Long term loan – Private collection
     
104 105 106
Carl Andre, Palisade, 1976, 12 beams of red cedar, 11 3/4 x 11 3/4 x 35 1/2 inches each; Scatter Piece, 1966, 32 ball bearings, 13 beams, 9 tubes in aluminum, 15 rectangles in Plexiglas, and 7 ingots in aluminum, Dimensions variable Carl Andre, Tenth Copper Corner, 1975
55 copper plates, 19 5/8 x 19 5/8 inches each
Ronald Bladen, The X installed at the Corcoran Gallery of Art, Washington, D.C., 1967
     
107 108 109
Tony Smith, Gracehoper, 1962
Painted steel, 22'8" x 24' x 46'
Tony Smith, Wingbone, 1962
Plaster, 26 x 35 x 118 inches
Tony Smith, Tetrahedron, 1961
Plaster, 38 x 48 x 43 inches
     
110 111 112
Tony Smith, Die, 1962
Painted steel, 6 x 6 x 6 feet
Tony Smith, Black Box, 1962
Painted Steel, 22 1/2 x 33 x 25 inches
Tony Smith, Smoke, 1967, Painted plywood mockup, 24 x 48 x 34 feet, Installed at The Corcoran Gallery of Art, Washington, D.C., October 1967-January 1968, in the exhibition "Scale as Content" (subsequently destroyed)
     
113 114 115
Sol LeWitt, Wall Structure Black, 1962
Oil on canvas and painted wood, 39 x 39 x 24 inches
Sol LeWitt, Standing Open Structure Black, 1964
Painted Wood, 96 x 26 x 26 inches
Sol LeWitt, Serial Project #1 A 6, 1967
Enamel on aluminum, 84 x 84 x 84 inches
     
116 117 118
Sol LeWitt, Serial Project #1 Set C, 1966-69
Enamel on aluminum, 9 x 33 x 33 inches
Sol LeWitt, Cube Structure Based on Five Modules (Diagonal 5), 1971. Painted wood, 24 x 24 x 24 inches Eva Hesse, Ingeminate, 1965
Enamel, paint, cord, and papier maché over balloons connected with surgical hose, each balloon 55.9 x 11.4 cm; hose 365.8 cm
     
119 120 121
Eva Hesse, Several, 1965
Acrylic paint and paper maché over balloons with rubber cords, 213.4 x 27.9 x 17.8 cm
Eva Hesse, No Title or Not Yet, 1965
Net bags, polyethylene sheeting, paper, metal weights, and string, 180.3 x 39.4 x 21 cm
Eva Hesse, No Title, 1966-67
Acrylic paint, cord, and papier-maché over Masonite, installed height 96.5 cm
     
122 123 124
Eva Hesse, Accession III, 1968
Fiberglass and polyester resin with plastic tubing
76.2 x 76.2 x 76.2 cm
Eva Hesse, No Title (Wall Piece), 1970
Fiberglass and polyester resin over wire mesh and polyethylene, and latex over cheesecloth, four units, each 86.4-108.6 x 58-86.4 x 5.1-15.2 cm
Eva Hesse, No Title (Rope Piece), 1970
Latex and filler over rope and string with metal hooks, dimensions variable.
     
125 126 127
Bruce Nauman,
My Last Name Exaggerated Fourteen Times Vertically, 1967
Neon tubing with clear glass tubing suspension frame, 63 x 33 x 2 inches
Bruce Nauman
From Hand to Mouth, 1967
Bruce Nauman, Film still from Dance or Exercise on the Perimeter of the Square (Square Dance), 1967-68
Sixteen-millimeter (black-and-white) and sound; 10 minutes
     
128 129 130
Bruce Nauman, Slow Angle Walk (Beckett Walk), 1968 Bruce Nauman, Installation view of Performance Corridor, 1969
From the exhibition "Anti-Illusion: Procedures/Maerials,"
Whitney Museum of American Art, New York, May 19-July 6, 1969
Wallboard and wood, 96 x 240 x 20 inches
Bruce Nauman
Audio Video Piece for London, Ontario, 1969-70
     
130 132 33
Basil Wolverton, Cover of Mad magazine, no. 11 (May 1954) Peter Saul, Untitled, 1960 Peter Saul, Superman and Superdog in Jail, 1963
     
134 135 136
Peter Saul, Queer Way to Die, 1963
Pastel, marker on paper, 27 ½ x 33 ¼ inches
Peter Saul, Beautiful Yellow Mother, 1966
Oil and acrylic on canvas, 74 x 63 inches
Peter Saul, Human Dignity, 1966
     
137 138 139
Peter Saul, Saigon, 1967
Oil on canvas, 93 x 142 inches
Whitney Museum of American Art
Peter Saul, Government of California, 1969 Peter Saul, Washington Crossing the Delaware, 1975
     
140 141 142
Emanuel Leutze, Washington Crossing the Delaware, 1851
Oil on canvas, 149 x 255 inches (378.5 x 647.7 cm)
The Metropolitan Museum of Art
Peter Saul, Columbus Discovers America, 1992-95
Acrylic and oil on canvas 96 x 120 inches (243.8 x 304.8 cm)
Levy Family Collection, Dallas
Peter Saul, The Execution of O.J., 1996. Acrylic, oil, and alkyd on canvas, 84 x 72 inches (213.4 x 182.9 cm)
     
     
     
     
Fotos do curso
 
ft01 ft02 ft03
     
Vídeos
Pequenos trechos da terceira aula do prof. Vincent Katz.
 
 
 
     
     
     
     
     
Aula 04
 
 
Imagens
     
01 02 03
Francesco Clemente, Sun, 1980. Gouache on twelve sheets of handmade Pondicherry paper, joined with handwoven cotton strips, 91 x 95 inches (231.1 x 241.3 cm). Philadelphia Museum of Art Francesco Clemente, Self-Portrait with a Hole in the Head, 1981 Oil and wax on linen, 20 1/16 x 29 15/16 inches (51 x 76 cm) Stedelijk Museum, Amsterdam Francesco Clemente, The Fourteen Stations I, 1981-82 Oil and wax on linen, 77 15/16 x 88 inches (198 x 223.5 cm). Private collection
     
04 05
Francesco Clemente, The Fourteen Stations II, 1981-82 Oil and wax on linen, 77 15/16 x 88 inches (198 x 223.5 cm). Private collection Francesco Clemente, The Fourteen Stations III, 1981-82 Oil and wax on linen, 77 15/16 x 92 15/16 inches (198 x 236 cm). Private collection Francesco Clemente, The Fourteen Stations X, 1981-82 Oil and wax on linen, 77 15/16 x 92 15/16 inches (198 x 236 cm). Private collection
     
07 08 09
Francesco Clemente, Perseverance, 1982 Oil on linen, 78 x 93 (198.1 x 236.2 cm) Francesco Clemente, Alba & Francesco, 1982 Watercolor on paper, 14 1/4 x 20 inches (36.2 x 50.8 cm). Private collection Francesco Clemente, She and She, 1982 Pastel on paper, 24 x 18 inches (61 x 45.7 cm). Private collection
     
10 11 12
Francesco Clemente, Secret, 1983 Oil on linen, 78 x 93 inches (198.1 x 236.2 cm). Collection of Mia and Patrick Demarchelier Francesco Clemente, Jean-Michel Basquiat, ca. 1982-87 Watercolor on paper, 14 1/4 x 20 inches (36.2 x 50.8 cm) Collection of Francesco and Alba Clemente, New York Francesco Clemente, Bestiarium, 1989 Pastel on paper, 30 x 26 5/16 inches (76.2 x 66.9 cm) Museum fur Moderne Kunst, Frankfurt am Main
     
13 14 15
Julian Schnabel, Accattone, 1978 Oil and wax on canvas, 213 x 183 cm. Private collection Julian Schnabel, The Patients and the Doctors, 1978 Oil, plates and bondo on wood, 244 x 274 x 30 cm.Courtesy of the artist Julian Schnabel, Mud in Mudanza, 1982 Oil, plates, bondo and metal on wood, 292 x 579 cm
     
16 17 18
Julian Schnabel, Portrait Of Andy Warhol, 1982 Oil on velvet, 107 3/4 x 120 1/8 inches (274 x 305 cm) Julian Schnabel, Affection for Surfing, 1983 Broken ceramics, bondo and oil paint on wood with woodpiece and bronze, 274 x 580 x 61 cm, Zurich, Collection Bischofberger Julian Schnabel, Platoon, 1987 Oil and modeling paste on velvet, 244 x 335 cm. Collection of Brett Torino
     
19 20 21
Julian Schnabel, Veramente Bestia I (Child), 1988. Oil on found object, 79 x 69 cm Julian Schnabel, Veramente Bestia V (Girl with No Eyes), 1988 Oil on found object, 50 x 40 cm Julian Schnabel, Veramente Bestia VI (Postcard), 1988 Oil on found object, 21 x 26 cm
     
22 23 24
Julian Schnabel, Veramente Bestia VII (Postcard), 1988 Oil on found object, 21 x 26 cm Julian Schnabel, Self-Portrait with Champagne Glass, 1987-1990 Jean-Michel Baquiat, Zydeco, 1984 Acrylic and oilstick on canvas, 218.5 x 518 cm Zurich, Collection Bischofberger
     
25 26 27
Jean-Michel Basquiat, King of the Zulus, 1984-1985 Acrylic, oilstick and xerox collage on canvas, 208 x 173 cm Marseille, Collection Musee d'Art Contemporain Susan Rothenberg, Withall, 1982 Oil on canvas, 165.5 x 312 cm Amsterdam, Stedelijk Museum Susan Rothenberg, Bone Heads, 1989-1990 Oil on canvas, 195.6 x 386.1 cm Santa Monica, The Broad Art Foundation
     
28 29 30
David Salle, The Happy Writers, 1981 Acrylic and oil on canvas, 183 x 366 cm Zurich, Collection Bischofberger David Salle, B.A.M.F.V., 1983 Mixed media on canvas, satin, 257 x 372 x 38 cm Zurich, Collection Bischofberger Eric Fischl, Father and Son, 1980 Oil on canvas, 72 x 72 inches
     
31 32 33
Eric Fischl, Help, 1980 Oil on canvas, 60 x 96 inches Eric Fischl, Bad Boy, 1981 Oil on canvas, 66 x 96 inches Eric Fischl, Best Western, 1983 Oil on canvas, 108 x 78 inches
     
34 35 36
Eric Fischl, Dog Days, 1983 Oil on canvas, two panels, 84 x 168 inches Eric Fischl, Master Bedroom, 1983 Oil on canvas, 84 x 108 inches Eric Fischl, Bayonne, 1986 Oil on canvas, 2 panels, 259 x 336 cm Private collection
     
37 38 39
Cindy Sherman, Untitled Film Still #6, 1977 Cindy Sherman, Untitled Film Still #10, 1978 Cindy Sherman, Untitled Film Still #81, 1978
     
40 41 42
Cindy Sherman, Untitled Film Still #14, 1978 Cindy Sherman, Untitled Film Still #43, 1979 Cindy Sherman, Untitled Film Still #56, 1980
     
43 44 45
Cindy Sherman, Untitled #96, 1981 Cindy Sherman, Untitled #90, 1981 Cindy Sherman, Untitled #097, 1982 Color photograph, 114.3 x 76.2 cm Santa Monica, The Broad Art Foundation
     
46 47 48
Cindy Sherman, Untitled #119, 1983 Cindy Sherman, Untitled #138, 1984 Cindy Sherman, Untitled #146, 1985
     
49 50 51
Cindy Sherman, Untitled #150, 1985 Cindy Sherman, Untitled #205, 1989 Color photograph, 135.9 x 102.9 cm Santa Monica, The Broad Art Foundation Cindy Sherman, Untitled #264, 1992 Color photograph, 101.6 x 190.5 cm Santa Monica, The Broad Art Foundation
     
53 54 55
Barbara Kruger Barbara Kruger Barbara Kruger
     
56 57 58
Barbara Kruger Barbara Kruger Barbara Kruger, Untitled (You Invest in the Divinity of the Masterpiece) 1982, Photograph, 71 3/4 x 45 5/8 inches The Museum of Modern Art, New York
     
59 60 61
Barbara Kruger, Untitled (You Are Not Yourself), 1982 Photograph, 72 x 48 inches Collection Edward R. Downe, Jr. Barbara Kruger, Untitled (I Shop Therefore I Am), 1987 Photographic silkscreen on vinyl, 120 x 120 inches Barbara Kruger, I Shop Therefore I Am, 1987 Photographic silkscreen on vinyl, 284.5 x 287.5 cm Private collection
     
62 63 64
Barbara Kruger, Untitled (Tell Us Something We Don't Know), 1987 Photograph, 49 x 65 1/2 inches Barbara Kruger, Untitled (An Erotic Relationship to Proper Names), 1988 Photograph, 72 x 48 inches Barbara Kruger
     
65 66 67
Barbara Kruger Barbara Kruger Barbara Kruger
     
68 69 70
Barbara Kruger Robert Mapplethorpe, Patti Smith, 1979 Gelatin silver print, 50.5 x 40 cm New York, The Robert Mapplethorpe Foundation Robert Mapplethorpe, Brian Ridley and Lyle Heeter, 1979 Gelatin silver print, 50.5 x 40 cm
     
71 72 73
Jeff Koons, Inflatable Flower and Bunny (Tall White, Pink Bunny), 1979 Plastic and mirrors, 61 x 30.5 x 81.3 cm Jeff Koons, New Hoover Convertible, New Shelton Wet/Dry 10 Gallon, Doubledecker, 1980 Two vacuum cleaners, Plexiglas, fluorescent, 251.5 x 71.1 x 71.1 cm Jeff Koons, Hoover Celebrity III, 1980 Vacuum cleaner, acrylic, fourescent lights, 96.5 x 50.8 x 27.9 cm
     
74 75 76
Jeff Koons, One Ball Total Equilibrium Tank (Spalding Dr. J. Silver Series), 1985 Glass, steel, sodium chloride reagent, distilled water, one basketball, 164.5 x 78.1 x 33.7 cm Jeff Koons, Dr. Dunkenstein, 1985 Framed Nike poster, 115.6 x 80 cm Jeff Koons, Aqui Bacardi, 1986 Oil inks on canvas, 114.3 x 152.4 cm
     
77 78 79
Jeff Koons, Fisherman Golfer, 1986 Stainless steel, 30.5 x 12.7 x 20.3 cm Venice, Attilio Codognato Jeff Koons, Michael Jackson and Bubbles, 1988 Porcelain, 106.7 x 179.1 x 82.6 cm Jeff Koons, String of Puppies, 1988 Polychromed wood, 106.7 x 157.5 x 94 cm Santa Monica, The Broad Art Foundation
     
80 81 82
Richard Prince, Untitled (living rooms), 1977 Four Ektacolor photographs, edition of 10 20 x 24 inches (50.8 x 61 cm) each Richard Prince, Untitled (mixed couples), 1977-78 Three Ektacolor photographs, edition of 10 20 x 24 inches (50.8 x 61 cm) each Richard Prince, Untitled (same man looking in different directions), 1977-78 Three black-and-white photographs, unique 59 5/8 x 29 1/2 inches (151.4 x 74.9 cm) overall Private collection, New York
     
83 84 85
Richard Prince, Untitled (four women with hats), 1980 Four Ektacolor photographs, edition of 2, 28 1/4 x 40 inches (71.8 x 101.6 cm) each

Richard Prince, Untitled (cowboy), 1980-83 Ektacolor photograph, edition of 2, 20 x 24 inches (50.8 x 61 cm)

Richard Prince, Untitled (fashion), 1982-84 Ektacolor photograph, unique, 40 x 27 inches (101.6 x 68.6 cm) Collection of Michael Chrichton
     
86 87 88
Richard Prince, Untitled (fashion), 1982-84 Ektacolor photograph, unique 40 x 27 inches (101.6 x 68.6 cm) Richard Prince, Tell Me Everything, 1987 Acrylic and silkscreen on canvas, 56 x 48 inches (142.2 x 121.9 cm) Skarstedt Collection, New York Richard Prince, Untitled, 1988 Acrylic and silkscreen on canvas, 56 x 48 inches (142.2 x 121.9 cm) Collection of the artist
     
89 90 91
Richard Prince, Untitled (cowboy), 1997 Ektacolor photograph, edition of 2, 49 3/4 x 76 inches (126.4 x 193 cm) Richard Prince, Untitled (Cowboy), 1998 Ektacolor photograph, 150.5 x 210.8 cm Richard Prince, Untitled (publicity), 2000 Five publicity photographs and text, framed, 41 1/4 x 61 1/2 inches (104.8 x 156.2 cm) Collection of Michael Young, New York
     
92 93 94
Haim Steinbach, Coat of Arms, 1988 John Jesurun, Shatterhand Massacre, 1987 Kiki Smith, Untitled, 1994
     
95 96 97
Philip Taaffe, Overtone, 1983 Collage, linoprint and acrylic on paper on canvas, 226 x 226 cm Philip Taaffe, Trinity, 1985 Mixed media on canvas, 365.5 x 142 cm Philip Taaffe, We Are Not Afraid, 1985 Collage, linoprint, acrylic on canvas, 305 x 259 cm Daros Collection, Switzerland
     
98 99 100
Philip Taaffe, Combine Painting, 1986 Collage, linoprint and enamel on canvas, 122 x 152.5 cm Sandra & Gerald Fineberg Collection Philip Taaffe, South Ferry, 1985-1986 Collage, linoprint and acrylic on canvas, 110 x 95 cm Private collection Philip Taaffe, Intersecting Balustrades, 1987 Enamel silkcreen collage, acrylic on canvas, 2 parts, 330 x 396 cm in total, Private collection
     
101 102 103
Philip Taaffe, Quadro Vesuviano, 1988 Acrylic on canvas, 226 x 174 cm Christopher Wool, Untitled, 1989 Chuck Close, Self Portrait, 1986 Oil on canvas, 54 1/4 x 42 1/4 inches (137.8 x 107.3 cm)
     
104 105 106
Chuck Close, Alex, 1987 Black-and-white Polaroid photograph mounted on aluminum 32 x 21 3/4 inches (81.3 x 55.3 cm) Private collection, New York Chuck Close, Janet, 1987 Black-and-white Polaroid photograph mounted on aluminum 32 x 21 3/4 inches (81.3 x 55.2 cm) Private collection, New York Chuck Close, Cindy, 1988 Oil on canvas, 102 x 84 inches (259.1 x 213.4 cm) Collection Oliver-Hoffman
     
107 108 109
Chuck Close, Francesco I, 1987-88 Oil on canvas, 100 x 84 inches (254 x 213.4 cm) Collection Ron and Ann Pizzuti Tracey Emin, Me and Paul, 1963-93 Tracey Emin, The Tracey Emin Museum, 1995-98
     
110 111 112
Tracey Emin, Kiss me, kiss me, cover my body in love, 1996 Tracey Emin, Love Poem, 1996 Tracey Emin, No you go fuck yourself, 1997
     
113 114 115
Tracey Emin, Garden of Horror, 1998 Tracey Emin, The Interview, 1999 Tracey Emin, You forgot to kiss my soul, 2001
     
116 117 118
Tracey Emin, Drunk to the bottom of my soul, 2002 Tracey Emin, Weird Sex, 2002 Tracey Emin, I am sleeping, 2005
     
119 120 121
Tracey Emin, Masturbating in the Bath - From Memory, 2005    
     
122 123 124
     
     
125 126 127
     
     
128 129 130
     
     
131 132 133
     
     
134 135 136
     
     
137 138  
     
     
     
     
     
Fotos do curso
ft01 ft02 ft03
     
     
Vídeos
Pequenos trechos da quarta aula do prof. Vincent Katz.
 
 
     
     
     
     
     
     
     
     
 
 

© 1994-2013 CHAA – Centro de História da Arte e Arqueologia  |   CONTATO   |   SOBRE O SITE