This document provides an overview of key developments in art since the 1950s. It discusses the rise of abstract expressionism and its influence on new forms like assemblage, happenings, and performance art. Artists like Rauschenberg, Kaprow, and Beuys staged multimedia performances that combined different elements. Pop art, exemplified by Warhol and Lichtenstein, incorporated popular culture imagery. Minimalism emerged to reduce artworks to basic forms using industrial materials, as seen in Donald Judd's identical rectangular units. The text explores how these new movements reflected the political, economic, and social changes in the post-World War II era.
55. Bill Viola THE CROSSING
1996. Two channels of color video projections from opposite sides of a large dark gallery
onto two back-to-back screens suspended from the ceiling and mounted on the floor; four
channels of amplified stereo sound, four speakers.
Height 16' (4.88 m). Courtesy Bill Viola Studio LLC. Performer: Phil Esposito. Photo: Kira
Perov. [Fig. 33-21]
78. Mary Kelly POST-PARTUM DOCUMENT
1975. Documentation III, Analysed Markings and Diary-perspective Schema. Perspex
unit, white card, sugar paper, crayon. 1 of 13 units, 14 × 11″ (35.3 × 28 cm). Tate Modern,
London. Courtesy Susanne Vielmetter Los Angeles Projects. [Fig. 33-30]
105. Cindy Sherman UNTITLED FILM STILL #21
1978. Black-and-white photograph, 8" × 10" (20.3 × 25.4 cm).
Courtesy of the artist and Metro Pictures. [Fig. 33-42]
107. James Luna THE ARTIFACT PIECE
First staged in 1987 at the Museum of Man, San Diego.
Luna also performed the piece for "The Decade Show," 1990, in New York. Courtesy
James Luna. [Fig. 33-43]
109. Lorna Simpson STEREO STYLES
1988. Ten black-and-white Polaroid prints and ten engraved plastic plaques,
5'4" × 9'8" (1.63 × 2.95 m) overall.
Private collection. Courtesy of the artist. [Fig. 33-44]
138. David Wojnarowicz "UNTITLED (HANDS)"
1992. Silver print with silkscreened text, 38" × 26" (96.5 × 66 cm).
Courtesy of the estate of David Wojnarowicz and PPOW Gallery, New York. [Fig. 33-56]
151. Jeff Wall AFTER "INVISIBLE MAN" BY RALPH ELLISON, THE PREFACE
1999–2001. Transparency in lightbox, 68-1/2" × 98-5/8" (174 × 250.5 cm).
Courtesy Marian Goodman Gallery. [Fig. 33-62]
159. David Hammons UNTITLED
2004. Nylon, 6' × 10' (1.82 × 3 m).
Studio Museum, Harlem. Gift of the artist (04.2.19). Studio Museum in Harlem. Photo:
Marc Bernier. [Fig. 33-66]
161. William Kentridge HISTORY OF THE MAIN COMPLAINT
1996. Stills. Film, 35 mm, shown as video, projection, black and white, and sound
(mono), 5 min. 50 sec.
Courtesy Marion Goodman Gallery, New York. [Fig. 33-67]
173. Patricia Cronin SHRINE FOR GIRLS
2015. Installation at Chiesa di San Gallo, Campo San Gallo, solo Collateral Event at the
56th Venice Biennale. [Fig. 33-73]
Laurie Anderson DUETS ON ICE1974. Photograph of a performance in New York, 1975.Courtesy the artist. Photo: Bob Bielecki. [Fig. 33-20]
Bill Viola THE CROSSING1996. Two channels of color video projections from opposite sides of a large dark gallery onto two back-to-back screens suspended from the ceiling and mounted on the floor; four channels of amplified stereo sound, four speakers.Height 16' (4.88 m). Courtesy Bill Viola Studio LLC. Performer: Phil Esposito. Photo: Kira Perov. [Fig. 33-21]
Mary Kelly POST-PARTUM DOCUMENT1975. Documentation III, Analysed Markings and Diary-perspective Schema. Perspex unit, white card, sugar paper, crayon. 1 of 13 units, 14 × 11″ (35.3 × 28 cm). Tate Modern, London. Courtesy Susanne Vielmetter Los Angeles Projects. [Fig. 33-30]
Cindy Sherman UNTITLED FILM STILL #211978. Black-and-white photograph, 8" × 10" (20.3 × 25.4 cm).Courtesy of the artist and Metro Pictures. [Fig. 33-42]
James Luna THE ARTIFACT PIECEFirst staged in 1987 at the Museum of Man, San Diego.Luna also performed the piece for "The Decade Show," 1990, in New York. Courtesy James Luna. [Fig. 33-43]
Lorna Simpson STEREO STYLES1988. Ten black-and-white Polaroid prints and ten engraved plastic plaques,5'4" × 9'8" (1.63 × 2.95 m) overall.Private collection. Courtesy of the artist. [Fig. 33-44]
David Wojnarowicz "UNTITLED (HANDS)"1992. Silver print with silkscreened text, 38" × 26" (96.5 × 66 cm).Courtesy of the estate of David Wojnarowicz and PPOW Gallery, New York. [Fig. 33-56]
Jeff Wall AFTER "INVISIBLE MAN" BY RALPH ELLISON, THE PREFACE1999–2001. Transparency in lightbox, 68-1/2" × 98-5/8" (174 × 250.5 cm).Courtesy Marian Goodman Gallery. [Fig. 33-62]
David Hammons UNTITLED2004. Nylon, 6' × 10' (1.82 × 3 m).Studio Museum, Harlem. Gift of the artist (04.2.19). Studio Museum in Harlem. Photo: Marc Bernier. [Fig. 33-66]
William Kentridge HISTORY OF THE MAIN COMPLAINT1996. Stills. Film, 35 mm, shown as video, projection, black and white, and sound (mono), 5 min. 50 sec.Courtesy Marion Goodman Gallery, New York. [Fig. 33-67]
Patricia Cronin SHRINE FOR GIRLS2015. Installation at Chiesa di San Gallo, Campo San Gallo, solo Collateral Event at the 56th Venice Biennale. [Fig. 33-73]