1960 –
Age of Post-Colonialism

Contemporary Art More
Introduction
Photography post 1960 More
Diane Arbus Boy with a Toy Grenade Cindy Sherman Untitled Film Still #21 William Eggleston Red Ceiling or Greenwood, Mississippi Sherrie Levine Untitled (After Edward Weston, ca. 1925)
The Postwar Figure More
Francis Bacon Triptych - August 1972 Lucian Freud Standing by the Rags
Body as Symbolic Form More
Louise Bourgeois Cumul I
Pop Art More
Andy Warhol Gold Marilyn Monroe Campbell's Soup Cans Claes Oldenburg Floor Cake Roy Lichtenstein Girl with Ball Rouen Cathedral Set V
Assemblage More
Ed and Nancy Kienholz Useful Art #5
Postwar German Art More
Gerhard Richter Uncle Rudi Betty Cage 1-6 September
Minimalism More
Donald Judd Untitled Richard Serra Torqued Ellipses Dan Flavin Untitled (To Donna) II Bernd and Hilla Becher Cooling Towers Robert Morris Untitled (L Beams)
Process Art More
Eva Hesse Untitled Untitled (Rope Piece) Chicago & Benglis Lifesaver & Omega Jackie Winsor #1 Rope
Performance Art More
Performance Art: An Introduction Joseph Beuys Fat Chair Table with Accumulator Feet Washing Marina Abramović The Artist is Present
Conceptual Art More
Introduction Vito Acconci Following Piece John Baldessari I Will Not Make Any More Boring Art
Institutional Crtitique More
Hans Haacke Seurat's 'Les Poseuses' (small version)
Feminist Art More
Kelly, Mary Postpartum Document
Earth Art More
Robert Smithson Spiral Jetty
Post-Minimalism More
Bruce Nauman The True Artist Helps the World by Revealing Mystic Truths
Postmodernism More
Robert Colescott Beauty is in the Eye of the Beholder
Young British Artists More
Damien Hirst The Physical Impossibility of Death in the Mind of Someone Living
Art in the 21st Century More
Art in the 21st Century Ai Weiwei Remembering

1960- Age of Post-Colonialism

Works discussed:
Roy Lichtenstein, Girl with Ball, 1961, oil and synthetic polymer paint on canvas, 60.25 x 36.25 inches or 153 x 91.9 cm (MoMA)
Judy Chicago, Dinner Party, 1974-79, multimedia installation, 576 x 576 inches or 1463 x 1463 cm (Brooklyn Museum)
Richard Serra, Torqued Ellipses, 1996-2000, Cor-Ten steel (Dia:Beacon, NY)

Speakers:
Dr. Beth Harris, Dr. Steven Zucker

Note:
Dr. Gail Levin, author of Becoming Judy Chicago: A Biography of the Artist (2007), has correctly pointed out that in our discussion of Chicago's Dinner Party we "misidentifie[d] the plate to the left of Sojourner Truth, reading the name "Mary Shelley" off of the floor. In fact, the plate represents Mary Shelley's mother, Mary Wollstonecraft, author of 'A Vindication of the Rights of Woman' (1792). Mary Shelley was the author of Frankenstein (1818). None of the names on the tile floor duplicate the names of the women who are represented by the 39 plates on the table."

Your Comments (3)

Previous Comments

g pietzonka wrote on Wednesday, September 15, 2010

I found the website when I read the horizon report 2010 from the new media consortium in the German issue. As librarian I am interesting in open content projects . It is great to listen to the conversation between Beth and Steven. The website stimulate me to get in contact with art, history . I will refer you website to interested colleagues. Thank you for your well structured website.

Ben Street wrote on Tuesday, June 12, 2012

I just want to point out, pedantically, that 'Girl with Ball' isn't from a comic strip, it's from an advert for a holiday camp in Pennsylvania - which slightly changes the argument, maybe. (Or maybe not).

Nicole Arseneault wrote on Wednesday, March 06, 2013

Judy Chicago, Dinner Party, 1974-79 was at the height of the feminist movement in art history. This was an important moment in art history because it rejects the traditional art canon. I enjoy the use of semiotics in this work that are used to represent women in western stereotypes and how Chicago uses these signs to reject traditional ideologies.