Absentee Landlord Study Set

Introduction to Absentee Landlord

Fri, 22 Jul 2011 14:53:12 -0400

Title	Introduction to Absentee Landlord
Author	lampens

Fri, 22 Jul 2011 14:53:13 -0400

Title
Author	lampens

Park City Grill

John Currin — Thu, 01 Jun 2000 00:00:00 -0400

Title	Park City Grill
Artist	John Currin
Date	2000
Institution	Walker Art Center
Location	Not on view.

An image of a woman with an elongated neck and a man drinking wine in a restaurant.

Park City Grill

John Currin — Thu, 01 Jun 2000 00:00:00 -0400

Title	Park City Grill
Artist	John Currin
Date	2000
Institution	Walker Art Center
Location	Not on view.

An image of a woman with an elongated neck and a man drinking wine in a restaurant.

Elongation of Features

Fri, 22 Jul 2011 14:53:13 -0400

Title	Elongation of Features
Author	lampens

Low Overhead

Richard Artschwager — Sat, 01 Jun 1985 00:00:00 -0400

Title	Low Overhead
Artist	Richard Artschwager
Date	1985
Institution	Walker Art Center
Location	Not on view.

Untitled (living rooms)

Richard Prince — Wed, 01 Jun 1977 00:00:00 -0400

Title	Untitled (living rooms)
Artist	Richard Prince
Date	1977
Institution	Walker Art Center
Location	Not on view.

Images of living rooms

No. 59

Anne Ryan — Tue, 01 Jun 1948 00:00:00 -0400

Title	No. 59
Artist	Anne Ryan
Date	1948/1954
Institution	Walker Art Center
Location	Not on view.

Gedi Sibony

Fri, 22 Jul 2011 14:53:14 -0400

Title	Gedi Sibony
Author	lampens

The Subconscious Sink

Robert Gober — Sat, 01 Jun 1985 00:00:00 -0400

Title	The Subconscious Sink
Artist	Robert Gober
Date	1985
Institution	Walker Art Center
Location	Not on view.

semi-gloss paint on steel

Robert Gober, The Subconscious Sink (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Robert Gober, The Subconscious Sink (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

How does one assign "meaning" to the works of artists such as Robert Gober? Here's Walker curator Richard Flood.

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Robert Gober, Subconscious Sink (1985)

Tue, 01 Jun 1999 00:00:00 -0400

Title	Robert Gober, Subconscious Sink (1985)
Author	Walker Art Center
Date	1999
Institution	Walker Art Center

Most of my sculptures have been memories remade, recombined, and filtered through my current experiences. Looking back now at why I built sculptures of sinks, I can remember sinks that I knew as a child, a recurring dream of a roomful of sinks with water flowing through them, the fact that a friend was dying of AIDS. But when I was making them, my considerations were for the most part sculptural and formal ones.--Robert Gober

Robert Gober's fascination with domestic objects dates back to the early 1980s, when he began to create sculptures based on beds, chairs, cribs, and sinks. Subconscious Sink contains the basic elements of a large old-fashioned sink the artist knew as a child. Mounted on the white gallery wall, the sink's gleaming plaster form almost appears to be materializing in front of our eyes, as if it is emerging from our own subconscious. However, it's clear at first glance that this is not an ordinary sink. Most notably, the back splashboard rises to an illogical height, splitting near the top into two identical halves. Furthermore, where there should be faucets and plumbing apparatus, there are gaping holes, rendering the sink useless.

As implied by the title and his own words, Gober is addressing larger psychological issues through this familiar household fixture. For example, our inability to clean ourselves at this sink has been compared to the larger inability of our immune systems to eradicate deadly diseases such as the AIDS virus from our bodies. The split splashboard is also rich with associations, implying a past division stemming from childhood or a discord in one's home environment.

Walker solo exhibition: Robert Gober: Sculpture + Drawing, 1999

Sixteen Jackies

Andy Warhol — Mon, 01 Jun 1964 00:00:00 -0400

Title	Sixteen Jackies
Artist	Andy Warhol
Date	1964
Institution	Walker Art Center
Location	Not on view.

4 different poses of Jackie repeated four times secured together in four rows. Source image photograph by Henri Dauman, 1963

Andy Warhol, 16 Jackies (1964)

Mon, 01 Jun 1998 00:00:00 -0400

Title	Andy Warhol, 16 Jackies (1964)
Author	Walker Art Center
Date	1998
Institution	Walker Art Center

Although Warhol was already impressed with the glamour of Jackie Kennedy by 1962,¹ he was unmoved by the news of John Kennedy's assassination the following year. He later recalled:

I heard the news over the radio when I was alone painting in my studio. I don't think I missed a stroke. I wanted to know what was going on out there, but that was the extent of my reaction.... Henry Geldzahler wanted to know why I wasn't more upset, so I told him about the time I was walking in India and saw a bunch of people in a clearing having a ball because somebody they really liked had just died and how I realized then that everything was just how you decided to think about it. I'd been thrilled having Kennedy as president; he was handsome, young, smart--but it didn't bother me that much that he was dead. What bothered me was the way the television and radio were programming everybody to feel so sad. It seemed like no matter how hard you tried, you couldn't get away from the thing.... John Quinn, the playwright ... was moaning over and over, "But Jackie was the most glamorous First Lady we'll every get."²

For Warhol, the visual means for expressing detachment from emotions, an attitude he regarded as characteristic of the 1960s in general,³ was through the replication of images. Like the droning repetition of newscasts, the device dissipates meaning, and with it the capacity of images to move or disturb: "The more you look at the same exact thing, the more the meaning goes away and the better and emptier you feel."⁴

The sixteen faces of Jackie Kennedy in Warhol's painting were blown up from four news photos that appeared ubiquitously in the media after the assassination. From top to bottom, the images are of Jackie smiling at Love Field on arrival in Dallas; stunned at the swearing-in ceremony for L.B.J. on Air Force One after the president's death; grieving at the Capitol; and in the limousine before the shooting. The top three appeared in the 24 November and 6 December 1963 issues of Life magazine: the first by an unidentified photographer; the second and third by Cecil Stoughton and Fred Ward, respectively; the source for the bottom one has not been identified, although a U.P.I. photograph similar to it was reproduced in Newsweek. Eventually, in Warhol's view, these images became so familiar that neutral identification is all that the viewer experiences.

Warhol make this point by repeating each of the four image of Jackie four times, in a simple well-designed non-sequential alternation of strips of "before and after" pictures. The high-contrast, low-information pictures, each as different from the others as one reproduction from another, are cropped to focus on Jackie's face, rhythmically directed one way along one row and then the other along the next. A deliberately careless look gives the painting a sense of chance and hurry, suggesting the quick duplication and dissemination of images.⁵ Additionally, expressivity is, in a sense, absent from the images themselves. Public expectation forces the face of the politician's wife into a perpetual, meaningless smile, while shock renders the widow as inexpressive and numb as one of Warhol's somnambulant superstars. The two faces, perceived by Warhol as equally unreal, have been further sapped of meaning by the mythologizing American culture and the techniques of reproduction, and are finally emptied of meaning by the artist's stylization.

¹ See Andy Warhol and Pat Hackett, PoPism: The Warhol '60s (New York and London: Harcourt Brace Jovanovich, 1980), p. 36.

² Ibid., p. 60.

³ Andy Warhol, The Philosophy of Andy Warhol (New York and London: Harcourt Brace Jovanovich, 1975), p. 27.

⁴ Warhol, PoPism, p. 50. It is interesting to note that 16 Jackies ignited the passion of a vandal who inscribed the words "HOGWASH/USA" on the panel third from the top on the leftmost column and "BLACK" on the panel second from the top on the rightmost column in ballpoint pen in November 1967; the inscriptions were successfully removed by Daniel Goldreyer in New York by late January 1968.

⁵ Warhol describes the silkscreening process he used, which allowed him to turn the work of reproducing the design over to Gerard Malanga and other assistants: "You pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple-quick and chancy;" Warhol, PoPism, p. 22.

Artwork of the Month: Andy Warhol's 16 Jackies

Tue, 01 Jun 2010 00:00:00 -0400

Title	Artwork of the Month: Andy Warhol's 16 Jackies
Author	Walker Art Center
Date	October, 1999
Institution	Walker Art Center

The Artwork of the Month's activity and label focus on a single work in the Walker's collection and provide entertaining art experiences for young people. You can see an activity with the ArtsConnectEd image viewer or download the PDF file to your computer. Use the Prev/Next buttons to move between images of the PDF and the actual file.

About the Artwork

Warhol made 16 Jackies in response to the assassination of President John F. Kennedy on November 22, 1963. The woman depicted is Jacqueline Kennedy, the president’s wife. The top and bottom photographs were taken moments before her husband’s death, and the two pictures in the middle were taken shortly afterward. The president’s death and its affect on his family and the country was widely covered in the news broadcasts around the world. People were glued to their television sets for days, watching many of the same scenes again and again as they waited for further details about the tragedy.

Yellow Corner Piece

Fred Sandback — Mon, 01 Jun 1970 00:00:00 -0400

Title	Yellow Corner Piece
Artist	Fred Sandback
Date	1970
Institution	Walker Art Center
Location	Not on view.

Claes Oldenburg, Shoestring Potatoes Spilling from a Bag (1966)

Mon, 01 Jun 1998 00:00:00 -0400

Title	Claes Oldenburg, Shoestring Potatoes Spilling from a Bag (1966)
Author	Walker Art Center
Date	1998
Institution	Walker Art Center

"I am for an art that imitates the human, that is comic, if necessary, or violent. . . . I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and drips, and is heavy and coarse and blunt and sweet and stupid as life itself."--Claes Oldenburg

After settling in New York in 1952, Claes Oldenburg became interested in making art that broke away from traditional forms (such as painting) and venues (such as galleries). During the late 1950s and early 1960s his performances, Happenings, environments, and other works drew on the growing consumerism of American culture, including advertising, comic books, and television, and he became associated with the newly developing Pop Art movement.

The sculpture Shoestring Potatoes Spilling from a Bag and a companion piece entitled Giant Soft Ketchup Bottle (1967) were inspired by an advertisement in a 1965 issue of Life magazine. In typical fashion, Oldenburg transforms the object by greatly enlarging its scale and using unexpected materials. Caught spilling from the bag in a frozen free fall, the fries are transformed into a satirical emblem of the basest level of American culture--greasy fast food to go.

Shoestring Potatoes Spilling from a Bag

Claes Oldenburg — Wed, 01 Jun 1966 00:00:00 -0400

Title	Shoestring Potatoes Spilling from a Bag
Artist	Claes Oldenburg
Date	1966
Institution	Walker Art Center
Location	Not on view.

Claes Oldenburg, Shoestring Potatoes Spilling from a Bag (track 2)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Claes Oldenburg, Shoestring Potatoes Spilling from a Bag (track 2)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Claes Oldenburg, Shoestring Potatoes Spilling from a Bag (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Claes Oldenburg, Shoestring Potatoes Spilling from a Bag (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Concetto Spaziale (Spatial Concept)

Lucio Fontana — Sat, 01 Jun 1968 00:00:00 -0400

Title	Concetto Spaziale (Spatial Concept)
Artist	Lucio Fontana
Date	1968
Institution	Walker Art Center
Location	Not on view.

a white painted canvas with a central hole. around the edges of the hole paint is applied thickly.

Concetto Spaziale - Attesa (Spatial Concept - Expectation)

Lucio Fontana — Mon, 01 Jun 1964 00:00:00 -0400

Title	Concetto Spaziale - Attesa (Spatial Concept - Expectation)
Artist	Lucio Fontana
Date	1964–1965
Institution	Walker Art Center
Location	Not on view.

a white painting with a long, narrow, vertical slash.

Lucio Fontana, Concetto SpazialeAttesa (Spatial ConceptExpectation) (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Lucio Fontana, Concetto SpazialeAttesa (Spatial ConceptExpectation) (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Two-Part Chairs, Obtuse Angle (A Pair)

Scott Burton — Wed, 01 Jun 1983 00:00:00 -0400

Title	Two-Part Chairs, Obtuse Angle (A Pair)
Artist	Scott Burton
Date	1983-1984
Institution	Walker Art Center
Location	On view at the Walker Art Center,

pink granite chairs

Artwork of the Month: Scott Burton's Two Part Chairs, Obtuse Angle (A Pair)

Tue, 01 Jun 2010 00:00:00 -0400

Title	Artwork of the Month: Scott Burton's Two Part Chairs, Obtuse Angle (A Pair)
Author	Walker Art Center
Date	October, 2001
Institution	Walker Art Center

About the Artwork

Scott Burton began his career as a performance artist in the early 1970s, using discarded furniture he found on the street for scenery. He often included everyday chairs and tables in his artwork, positioning the pieces to suggest characters with personality. He also made functional sculptures of furniture with traditional materials, such as the polished granite of Two-Part Chairs, Obtuse Angle (A Pair). For this work, the artist constructed a pair of basic L-shapes and then fit them together like pieces in a simple puzzle.

Burton believed that artwork should be “around, behind, underneath (literally) the audience,” and he disliked displaying his creations surrounded by ropes or on pedestals. He wanted visitors to walk around, touch, and sit upon his sculptures. So take a seat in style—there’s room for two. Gaze over the cityscape, and contemplate the people and objects around you. Be a part of the art!

Newspaper

Robert Gober — Mon, 01 Jun 1992 00:00:00 -0400

Title	Newspaper
Artist	Robert Gober
Date	1992
Institution	Walker Art Center
Location	Not on view.

Stack of newspapers printed on Super Fine Mohawk archival paper and bound in twine with image of bride on top of stack (image of artist). Frequently described as "Having it All" or "Wedding Gown" image.

E.O.W. Looking into the Fire I

Frank Auerbach — Fri, 01 Jun 1962 00:00:00 -0400

Title	E.O.W. Looking into the Fire I
Artist	Frank Auerbach
Date	1962
Institution	Walker Art Center
Location	Not on view.

abstract portrait of a nude woman from the chest up; heavily encrusted paint, built up to form portrait; colors are prodominantly grays, white, black with touches of red and dark green

Untitled

Cindy Sherman — Thu, 01 Jun 2000 00:00:00 -0400

Title	Untitled
Artist	Cindy Sherman
Date	2000
Institution	Walker Art Center
Location	Not on view.

A self-portrait of the heavily made-up artist

Opening-Day Artist Talk: Sturtevant

Mon, 01 Jun 2009 00:00:00 -0400

Title	Opening-Day Artist Talk: Sturtevant
Creator	Walker Channel
Date	April 25, 2009
Institution	Walker Art Center

It's been said that Sturtevant is the only artist who can't be copied--but she is best known for making repetitions of works by artists such as Joseph Beuys, Marcel Duchamp, Andy Warhol, Frank Stella, and Jasper Johns. She began this practice in the 1960s--some 20 years before strategies of appropriation marked the American art world of the 1980s. "The brutal truth is they are not copies; the push and shove is interior movement; the dynamics are the jetting of representation," says Sturtevant of her work. Her intentions are to "create space for new thinking, to trigger thinking."

During this rare appearance, the artist will discuss the philosophical base of this radical and influential work and the discourse on "the imposition of our cybernetic world and the zip zap of our digital world with its dangerous potent power." Sturtevant's Beuys Fat Chair is prominently featured in The Quick and the Dead, an experimental exhibition that considers the romantic legacy of conceptual art through works by an international roster of 53 artists.

La rivoluzione siamo Noi

Joseph Beuys — Thu, 01 Jun 1972 00:00:00 -0400

Title	La rivoluzione siamo Noi
Artist	Joseph Beuys
Date	1972
Institution	Walker Art Center
Location	Not on view.

Printed on reverse UL corner: "originalgrafik • serie B / nr. 3 joseph beuys / la rivoluzzione [sic] siamo noi / offset 1972". Publisher info printed in LL corner on reverse.

Self-Portrait

Andy Warhol — Thu, 01 Jun 1978 00:00:00 -0400

Title	Self-Portrait
Artist	Andy Warhol
Date	1978
Institution	Walker Art Center
Location	Not on view.

Portrait of Warhol with two hands clenched around his neck.

Andy Warhol, Let's Entertain: Life's Guilty Pleasures

Thu, 01 Jun 2000 00:00:00 -0400

Title	Andy Warhol, Let's Entertain: Life's Guilty Pleasures
Author	Andy Warhol
Date	2000
Institution	Walker Art Center

A multimedia artist avant la lettre, Andy Warhol was painter, printer, filmmaker, magazine founder, and all-around media star from the early 1960s until his death in 1987. The seminal progenitor of American Pop Art and purveyor of the glamorous celebrity lifestyle uttered the now-clichéd statement, "In the future, everyone will be famous for fifteen minutes." With this simple utterance, Warhol captured the volatile mix of desire, artifice, glamour, fickleness, and information overload that would define our celebrity-obsessed culture. His celebrated silkscreen paintings were often serialized portraits of rich, famous, and sometimes tragic figures of music, screen, and popular culture--such as Marilyn Monroe, Elizabeth Taylor, Elvis Presley, and Jackie Kennedy. In his Factory of the late 1960s and early 1970s, he created "superstars" with that "It" quality that separated them from the ordinary. He made films that starred his creations, including Poor Little Rich Girl with Edie Sedgwick and Sleep with John Giorno. Taking part in all areas of the creative world, mainstream and underground, he was involved in the 1960s underground music scene with his musical protégés the Velvet Underground and was also instrumental in the success of Studio 54, the disco-era New York club that became the archetypal high-profile celebrity hangout. While helping to highlight, define, and foster America's obsession with the rich and famous, in 1969 Warhol also created a vehicle to both critique and celebrate that culture: Interview magazine. He also made a number of forays into television. Apart from appearing, as himself, in popular television series such as Love Boat, he also hosted two cable programs in the 1980s: Andy Warhol's TV and Andy Warhol's Fifteen Minutes. The episodes included in this exhibition feature segments with artists Eleanor Antin and Yoko Ono, musicians The Ramones and Debbie Harry, and filmmaker John Waters and his star Divine, among many others. Warhol was the pioneer who paved the way for such current celebrity media outlets as E! Entertainment Television and In Style magazine. In addition, he has had an extraordinary influence on many of the artists in this exhibition.

High Heel in Ruins

Peter Hujar — Sat, 01 Jun 1985 00:00:00 -0400

Title	High Heel in Ruins
Artist	Peter Hujar
Date	1985
Institution	Walker Art Center
Location	Not on view.

An image of a high-heel shoe amongst street garbage.

The Caveman from Wurst Series