Part III. Postmodernism's Expansions: The Framers, Artists, and Architects of Postmodernism

Photography, its Strategies of Appropriation and its Critiques of Originality: The Pictures show

Textbook: Chapter 10, pp. 319-330

Postmodernist Art Theory: French Critical Theory and the journal October

Textbook: Chapter 11, pp. 332-346

Postmodernist Art Theory: Consumer Society and Deconstruction Art Textbook: Chapter 11, pp. 346-359; Chapter 12, pp. 375-399,

401-420

Postmodernist Art Theory: Second-generation feminist art, the politics of representation, and an introduction to art of the marginalized "other"

Textbook: Chapter 11, pp. 359-368; Chapter 12, pp. 408-420 (Cindy Sherman)

Andy Warhol’s Pop art- Critical or complacent?

Two different interpretations advanced in “1964b”

Simulacral reading- postructuralism that’s against referential representation

Repetition as a representation of a worldly referent; Simulation of a pure image or a detached signifier

vs. referential reading- social history who tie the work to thematic issues

Traumatic realism- “repetition [in Warhol’s work] serves to screen a reality understood as traumatic” through a rupture in the images he produces, the punctum- the traumatic point

Andy Warhol, White Burning Car III, 1960s, silkscreen on canvas

Postmodernism

Andy Warhol, Marilyn Diptych, 1960s, silkscreen and synthetic polymer paint on canvas, on two panels Postmodernism

Andy Warhol, Lavender Disaster, 1960s, silkscreen ink and synthetic polymer paint on canvas Postmodernism

Andy Warhol, Thirteen Most Wanted Men, 1960s, silkscreen on canvas, twenty-five panels, Postmodernism

“Mass subjectivity”- Warhol evokes mass society’s “mass subject” through its kitsch and its iconic celebrities and through “abstract anonymity”

diagram from Rosalind Krauss’ essay “Sculpture in the Expanded Field” (1979) in her The Originality of the Avant-Garde and Other Modernist Myths

“Sculpture in the expanded field,” which mobilizes linguistic theory-structuralism

Vs. claims of pluralism, which “presupposes that everything is available to every artist at every moment in history, that there are no overriding historical factors that limit the available options and organize behavior” as the underlying

Christo and Jeanne-Claude, Valley Curtain, Rifle Valley, California, 1970-1972, Site-Specific Public Art, Postmodernism

Christo and Jeanne-Claude, Running Fence, Sonoma and Marin Counties, California, 1972-76, 24 miles long, Site-Specific Public Art, Postmodernism

Richard Serra, Tilted Arc, 1980s, corten-steel, 120’ long and 12’ high, Site-Specific work of Public Art in the plaza of a federal building in downtown Manhattan commissioned by a federal entity, the GSA, Site-Specific Public Art

Controversy: Should tax money be spent on public art at all? Arc was removed from the site, and the work thus destroyed, in 1989