En los 60 y los 70 la contracultura, las denuncias de mercantilización del arte y el auge de lo conceptual aconsejaban desmaterializar la obra artística para adentrarse en los dominios de la instalación, el land art o la performance
AUTORES/OBRAS
J. Kosuth
Una y tres sillas (1965)
Y. Klein
Ceremonia de pintura (Action art)
Gilbert & George
Thirty five locations (2003)
D. Oppenheim
Stutter Pen (1994)
P. Manzoni
Mierda de artista (Arte povera) (1961)
Ch. Javacheff
Reichstag, Berlín (Land art) (1995)
R. Smithson
Muelle en espiral (Land art) (1970)
POSTMODERNIDAD
F. Clemente
Autorretrato (1982)
El rey araña oscureciendo el sol (1990)
S. Chia
Rough times (2004)
BAD PAINTING. USA
E. Fischl
Chico malo (1981)
J. Schnabel
Tipo étnico (1984)
Ritu Quadrupedis (1987)
D. Salle
Dual aspect picture (1986)
J. Koons
Conejo (1986)
ARTE URBANO
ART-URBANO
K. Haring
Sin título (1982)
J. M. Basquiat
Luna de Cadillac (1981)
NEOEXPRESIONISMO ALEMÁN
G. Baselitz
Los hijos de Olmo (1981)
Mamá folklore (1997)
A. Kiefer
Varus (1979)
Nuremberg (1982)
Al pintor desconocido (1983)
A. R. Penk
Posición (1971)
ARTE CONCEPTUAL:
ARTE CONCEPTUAL ART-CONCEPTUAL
Conceptualismo
Matthias Kulka (CORBIS
--------------------------------
PRINCIPALES OBRAS DEL ARTE ACTUAL
Los primeros iconos del siglo
E. Hooper
Gas (1940)
Noctámbulos (1942)
J. Pollock (action painting)
Composición nº 16 (1948)
Ritmo de otoño (1950)
W. de Kooning
Hombre rojo con bigote (1971)
M. Rothko (espacialismo cromático)
Verde sobre azul
Luz, tierra y azul
R. Motherwell
Elegía a la República española nº 35
J. Dubuffet
Cuerpo de dama (1950)
A. Giacometti
Mujer de pie con moño (1949)
L. Freud
Muchacha con un perro blanco (1951)
F. Bacon
Cabeza IV (1949)
Inocencio X (1953)
Autorretrato (1973)
Balthus
Los días más felices (1946)
El dormitorio (1954)
A. Saura
El grito nº 7 (1959)
A. Tápies
El espíritu catalán
M. Miralles
Cuadro 173 (1962)
J. Oteiza
Caja metafísica (1958)
E. Chillida
El peine de los vientos (1977)
L. Fontana
Concepto espacial (1959)
Venecia era toda de oro (1961)
B. Newman
Obelisco roto. Rothko Chapel (1966)
Midnight Blue (1970)
J. Albers
IS-j (1973)
F. Stella
Sin título (1966)
A. Reinhardt
Pintura abstracta (1966)
R. Annuszkiewick
Agredido por el verde (1963)
V. Vasarely
Diam I (1988)
J. Tinguely
Plaza Stravinsky, París (1987)
J. Johnes
Tres banderas (1958)
Mapa (1958)
R. Rauschenberg
Pilgrim (1960)
Mercado negro (1961)
Retroactive I (1964)
Inglaterra
R. Hamilton
725 Richard Hamilton
¿Qué tienen los hogares modernos que los hacen tan atractivos? (1956)
P. Blake
Tienda de juguetes (1962)
D. Hockney
Gran chapuzón (1967)
Estados Unidos
A. Warhol
Marylin (1964)
Lata de sopa Campbell (1968)
Brillo boxes (1969)
T. Wesselmann
Bathtub collage number 3 (1962)
Gran desnudo americano nº 57 (1964)
Desnudo nº 1 (1970)
R. Linchtenstein
Mujer en el baño (1963)
M-Maybe (1965)
J. Rosenquist
Area code (1970)
R. Indiana
Love (1966)
N. De Saint Phalle
Black Nana (1969)
D. Judd
Sin título (1980)
R. Artschwager
Silla (1966)
R. Serra
Serpiente (1997)
A matter of time (2005)
R. Estes
Cabinas de teléfonos (1967)
Lunch specials (2001)
A. López García
Gran Vía (1981)
Madrid desde Torres Blancas (1982)
D. Hanson
Supermarket lady
--------------------------------------------------
Fotografía
Man Ray:
- El violón de Ingres. 1924
---------------------------------------------------
E. Hooper
Gas (1940)
Noctámbulos (1942)
Richard Hamilton
“Just what is it makes that today’s homes so different, so appeling?”(¿Exactamente qué es lo que hace a los hogares de hoy en día tan diferentes, tan atractivos?)
¿Qué tienen los hogares modernos que los hacen tan atractivos? (1956)
Tienda de juguetes (1962)
Gran chapuzón (1967)
Marylin (1964)
Lata de sopa Campbell (1968)
Brillo boxes (1969)
Bathtub collage number 3 (1962)
Gran desnudo americano nº 57 (1964)
Desnudo nº 1 (1970)
Mujer en el baño (1963)
M-Maybe (1965)
Area code (1970)
Love (1966)
Black Nana (1969)
EXPRESIONISMO ABSTRACTO
J. Pollock (action painting) V, 729 Jackson Pollock
Composición nº 16 (1948)
Ritmo de otoño (1950)
W. de Kooning
Hombre rojo con bigote (1971)
649 De Kooning,
M. Rothko (espacialismo cromático)
Verde sobre azul
Luz, tierra y azul
R. Motherwell
Elegía a la República española nº 35
INFORMALISMO EN EUROPA
J. Dubuffet
Cuerpo de dama (1950)
A. Giacometti
Mujer de pie con moño (1949)
LA ESCUELA DE LONDRES
L. Freud
Muchacha con un perro blanco (1951)
F. Bacon
Cabeza IV (1949)
Inocencio X (1953)
Autorretrato (1973)
OTRAS MIRADAS
Balthus
Los días más felices (1946)
El dormitorio (1954)
ABSTRACCIÓN POSTPICTÓRICA
L. Fontana
Concepto espacial (1959)
Venecia era toda de oro (1961)
B. Newman
Obelisco roto. Rothko Chapel (1966)
Midnight Blue (1970)
J. Albers
IS-j (1973)
F. Stella
Sin título (1966)
A. Reinhardt
Pintura abstracta (1966)
OP ART
R. Annuszkiewick
Agredido por el verde (1963)
V. Vasarely
Diam I (1988)
Victor Vasarely (1906-1997), que permite un recorrido bastante completo por su trayectoria. Vasarely, uno de los artistas no figurativos más importantes del siglo XX
nació en Pécs (Hungría), aunque después de sus años de estudio y formación se trasladó a Francia en 1930, donde residiría el resto de su vida.
se suele encuadrar a Vasarely como uno de los iniciadores del Op Art o arte óptico
él prefería situarse en el marco del «arte cinético», un término que empezó a utilizar en 1953, basándose en la descripción del movimiento de los gases de Nicolas Sadi Carnot, ingeniero francés del siglo XIX.
Con el título El movimiento [Le Mouvement], tuvo lugar en 1955 en París, en la galería de Denise René, la primera gran exposición de arte cinético, con la que Vasarely alcanzó gran proyección internacional.
En él se encuentran algunas claves fundamentales de su obra. Los antecedentes y referencias explícitos que menciona: Manet, Cézanne, Matisse, Picasso, Kandinsky, Mondrian, Le Corbusier, Calder… Junto a la impor- tancia del movimiento, la idea de que forma y color constituyen una unidad indisociable: «No son sino uno. La forma no puede existir sino una vez señalada por una cualidad coloreada. El color no es cualidad sino una vez delimitado como forma».
Y también la consideración del cambio en los soportes y en la transmisión de las obras de arte, propiciados por el despliegue de nuevas técnicas, algo decisivo en sus propuestas concebidas como «múltiples». Según Vasarely: «Si la idea de la obra plástica residía hasta aquí en una acción artesanal y en el mito de la “pieza única”, hoy se sitúa en la concepción de una posibilidad de recreación, de multiplicación y de expansión»
ARTE CINÉTICO
J. Tinguely
Plaza Stravinsky, París (1987)
NEODADAÍSMO
J. Johnes
Tres banderas (1958)
Mapa (1958)
R. Rauschenberg
Pilgrim (1960)
Mercado negro (1961)
Retroactive I (1964)
POP ART
Inglaterra
R. Hamilton
P. Blake
D. Hockney
Estados Unidos
A. Warhol
T. Wesselmann
R. Linchtenstein
J. Rosenquist
R. Indiana
N. De Saint Phalle
MINIMAL ART
D. Judd
Sin título (1980)
R. Artschwager
Silla (1966)
R. Serra
Serpiente (1997)
A matter of time (2005)
HIPERREALISMO
R. Estes
Cabinas de teléfonos (1967)
Lunch specials (2001)
A. López García
Gran Vía (1981)
Madrid desde Torres Blancas (1982)
D. Hanson
Supermarket lady
-------------------------------------------------------------------------------------------------------------------------
POSTMODERNIDAD
F. Clemente
Autorretrato (1982)
El rey araña oscureciendo el sol (1990)
S. Chia
Rough times (2004)
BAD PAINTING. USA
E. Fischl
Chico malo (1981)
J. Schnabel
Tipo étnico (1984)
Ritu Quadrupedis (1987)
D. Salle
Dual aspect picture (1986)
J. Koons
Conejo (1986)
ARTE URBANO
K. Haring
Sin título (1982)
J. M. Basquiat
Luna de Cadillac (1981)
NEOEXPRESIONISMO ALEMÁN
G. Baselitz
Los hijos de Olmo (1981)
Mamá folklore (1997)
A. Kiefer
Varus (1979)
Nuremberg (1982)
Al pintor desconocido (1983)
A. R. Penk
Posición (1971)
--------------------------------------------------------------------------------------------------------------
POSTMODERNO EN ESPAÑA
Description : Pintado en 1991Técnica mixta sobre tela. 200 x 200 cm. Colección particular. Inglaterra. | Copyright : M.Barceló |
M. Barceló
Le Louvre, grande galerie (1985)
Femme portant une théière (1988)
Taula amb pop i calamar (1991)
Capilla de Sant Pere, catedral, Palma de Mallorca (2007)
J. Mª Sicilia
La luz que se apaga II (2003)
J. M. Broto
Intervalo VI (2003)
J. Gay
El viaje y la quietud (1999)
V. Mira
Homenaje a Bach
G. Pérez Villalta
Batalla (2004)
------------------
VANGUARDIAS
Arte en América: Expresionismo Abstracto
Informalismo en Europa
La pintura informalista en España
El Estilo Internacional
Continuadores del Proyecto Moderno
Opositores al Proyecto Moderno
Conceptualismo
Action Art
Arte Povera
Transvanguardia italiana
Neoexpresionismo alemán
Bad painting en USA
España postmoderna
------------------------------------------------------------------------------------------
-
-----------------
OBRAS
Kanayama, Akira, Footprints, 1956
Murakami Saburo, Untitled, 1956
Motonoga, Sadamasa, Water, 1956
Shimamoto, Shozo, Untitled, 1956
Klein, The Void, 1959, Iris Clert Gallery
Klein, IKB 79, 1959, Paint on canvas on wood
object: 1397 x 1197 x 32 mm
Tate
Klein, Untitled (Blue Monochrome), 1959
Klein, Blue Sponge Relief (Kleine Nachtmusik), 1960, Sponge, stone, and pigments on wood and canvas, 145 x 116 cm, Staedel Museum
Klein, Leap into the Void, 1960
Klein, Anthropométries, 1960 and Monotone Symphony, 1960
Manzoni, Line 11m, 1959
Manzoni, Artist's Breath, 1960
Manzoni, Eggs, 1960
Manzoni, Living Sculpture, 1961
Manzoni, Merda d'artista, 1961
Maciunas, In Memoriam Of
Adriano Olivetti, 1962
Fluxus Performance Corner, 1962
Nam June Paik
One For Violin Solo, 1962
Vautier, All is Art, 1964
Vautier, Total Art Match-Box, 1966
Vautier, Art is Useless, Go Home, 1971
Beuys, Fat Chair I, 1964
Beuys, How To Explain Pictures To A Dead Hare, Galerie Schmela, Duesseldorf, Nov. 26th, 1965
Beuys, I Like America and America Likes Me, 1974
Beuys, Plight, 1958/1985
43 rolls of felt, piano, black table, thermometer
310 x 890 x 1813 cm, Georges Pompidou Center
Kounellis, Cotoniera, 1967
Kounellis, Untitled, 1969, Galleria L’Attico, Rome
Anselmo, Untitled, 1968
Granite, copper, wire, lettuce
28 x 13 1/16 x 9 1/16 in. overall, Collection Centre Georges Pompidou
Anselmo, Torsion, 1968, iron and fabric 160 x 160 cm, Galleria Civica D’Arte Moderna, Torina
Broodthaers, Casserole and Closed Mussels, 1964, Mussel shells, pigment and polyester resin in painted iron pot, 305 x 279 x 248 mm, Tate
Broodthaers, White Cabinet and White Table, 1965, painted cabinet, table, and eggshells, cabinet 33 7/8 x 32 1/4 x 24 1/2" (86 x 82 x 62 cm), table 41 x 39 3/8 x 15 3/4" (104 x 100 x 40 cm), MOMA
Broodthaers,
Femur of Belgian Man, 1964
Femur of a French Woman, 1969
Broodthaers, Musée d'Art Moderne, Département des Aigles, Section Financière (Museum of Modern Art, Department of Eagles, Financial Section), 1970-1971, Gold bar stamped with an eagle. Courtesy Galerie Beaumont, Luxembourg. Photo: J. Romero, courtesy Maria Gilissen
Broodthaers, The Farm Animals, 1974, lithograph on paper, 819 x 603 mm, on paper, print, Tate
Broodthaers, The Conquest of Space, 1975
Marioni, The Act of Drinking Beer with Friends is the “Highest form of Art”, 1970
Marioni, One Second Sculpture, 1970
Kos, Lot's Wife, 1969
Kos, The Sound of Ice Melting, 1970
Barry, The Gallery is Closed for the Duration of the Exhibition, 1969
de Maria, Munich Earth Room, 1968
de Maria, Art By Telephone, 1969
de Maria, Vertical Earth Kilometer, 1977 Kassel, Germany
de Maria, The Lightning Field, 1977, 400 stainless steel poles, each two inches in diameter and approximately 20 feet tall, imbedded permanently at intervals of 220 feet, over a rectangular area measuring one mile on one side and one kilometer on the othernear Corrales, New Mexico
Dia Art Foundation
Kosuth, One and Three Chairs, 1965
Nauman, A Rose Has No Teeth, 1965
Nauman, My Last Name Exaggerated
14 Times, 1967
Nauman, Self-Portrait As A
Fountain, part of “Eleven Color Photographs”, 1967
Nauman, Clown Torture, 1987, Color video, color-video projection, sound, Art Institute of Chicago
Nauman, Mapping the Studio I (Fat Chance John Cage), 2002
Buren, Manifestation, 1967, Salon de jeune peintures, Paris
Buren, Cloisters of San Lazarro, 1991, Venice
Acconci, Seedbed, 1971
Mitchell, Painting 1953, 1953
Mitchell, Chamonix, 1962, Oil on canvas, 200 x 217.2 cm (78 3/4 x 85 1/2 in.), Museum of Fine Arts, Boston
Mitchell, Land, 1989, oil on canvas, 280 x 400 cm (110 1/4 x 157 1/2 in.), NGA, Washington
Bourgeois, The Blind Leading The Blind, 1947-9
Bourgeois, Double Negative, 1963
Bourgeois, Cell, 1989-93
Bourgeois, Maman, 1999. Bronze and steel, 30 feet 5 inches x 29 feet 3 inches x 33 feet 7 inches, Edition of 6, 1 A.P. Guggenheim Museum Bilbao
Hesse, Hang-Up, 1965-6
Tate
Hesse, Untitled, or Not Yet, 1966
SFMOMA
Hesse, Accession II, 1967
Hesse, Expanded Expansion, 1969. Reinforced fiberglass poles and rubberized cheesecloth, three units of three, five, and eight poles, respectively: 122 x 60 inches; 122 x 120 inches; and 122 x 180 inches; 122 x 300 inches overall. Solomon R. Guggenheim Museum
Hesse, Contingent, 1969
cheesecloth, latex, fiberglass
installation (variable) 350.0 (h) x 630.0 (w) x 109.0 (d) cm
NG Australia
Hesse, Untitled, 1970, Whitney Museum of American Art
Riley, Blaze I, 1962
Riley, Suspension, 1964
Riley, Zing, 1992
Holt, Star-Crossed, 1979
13’ x 30’, Miami University Art Museum, Ohio
Holt, Sun Tunnels (with tunnels for Draco, Perseus, Columba, and Capricorn), 1973-76, Lucin, Utah
Miss, Perimeters/Pavilions/Decoys, 1977-78, Nassua County Museum, Roslyn, NY
Cover of catalogue for Womanhouse, 1972
Miriam Schapiro and Judy Chicago on steps
Schapiro, Heartfelt, 1979
Schapiro, Wonderland, 1983
acrylic, fabric and plastic beads on canvas
90 x 144 1/2 in. (228.6 x 367.0 cm.)
Smithsonian American Art Museum
Chicago, The Dinner Party, 1974-79
Lynda Benglis, "Artforum" advertisement, 1974, Photograph, 27 x 54 cm
Schneemann, Meat Joy, 1964
Schneemann, Interior Scroll, 1975
Wilke, S.O.S. Starification Object
Series, 1974, Performalist self-portrait with Les Wollan, one of 35 black and white photographs in the Mastication Box, a game box with photographs, chewing gum sculptures, playing cards, instructions for play, Ronald Feldman Fine Art
Wilke, July 26, 1992/February 19, 1992
#4, Performalist self-portrait with Donald Goddard, chromagenic supergloss prints with overlaminate, 2 panels: 71 1/2 x 47 1/2 inches each, Collection: Helsinki City Art Museum,
Kelly, Post-Partum Document, 1973-1979
Kelly, Post-Partum Document, 1973-1979 (1978)
Piper, Untitled for Max’s Kansas City, 1970
Piper, Catalysis III, 1970
Piper, Catalysis IV, 1970
Piper, Self-Portrait
Exaggerating My
Negroid Features, 1981
Mendieta, Rape/Murder, 1973
Mendieta, Untitled #401, 1977
Mendieta, Untitled, late 1970s
Guerilla Girls, 1985
Guerilla Girls, 1989
Baselitz, Rebel, 1965, Oil on canvas, 1627 x 1302 mm, Tate
Baselitz, The Gleaner, August 1978. Oil and tempera on canvas, 129 7/8 x 98 3/8 inches. Solomon R. Guggenheim Museum
Baselitz, Orange Eater, 1981
Baselitz, The Girls of Olmo, 1981
Oil on canvas, 249 x 250 cm
Centre Georges Pompidou
Baselitz, Lazarus, 1984, Oil on canvas, 248.9 x 331.5 cm (98 x 130 1/2 in.), Museum of Fine Arts, Boston
Kiefer, Occuptations, 1969
Kiefer, Deutschlands Geisteshelden [Germany's Spiritual Heroes], 1973, oil and charcoal on burlap mounted on canvas, 120 1/2 x 267 3/4 inches, Broad Art Foundation
Kiefer, March Heath, 1974
Oil, acrylic, and shellac on burlap, 118 x 254 cm (46 1/2 x 100 in)
Van Abbemuseum, Eindhoven, The Netherlands
Kiefer, Margarete, 1981
Oil and straw on canvas, 280 x 380 cm (110 x 149 5/8)
Saatchi Collection, London
Kiefer, Your Golden Hair, Margarete, 1981, Oil, emulsion, and straw on canvas, 130 x 170 cm (51 3/16 x 67 in)
Collection Sanders, Amsterdam
Kiefer, Nigredo, 1984
Oil, acrylic, emulsion, shellac, and straw, on photograph, mounted on canvas, with woodcut
330 x 555 cm (130 x 218 1/2 in); Philadelphia Museum of Art
Kiefer, The High Priestess, 1985-91, two steel bookcases filled with gigantic lead books
Polke, Ich mach das schon Jess (I'll Take Care of That, Jess), 1972, Oil on felt, 124 x 112 3/16 in. (315 x 285 cm), Sammlung Essl, Klosterneuburg
Polke, This is how you sit correctly (after Goya), 1982
Acrylic on fabric, 200 x 190 cm
Private collection, Baden-Baden
Polke, Hochstand, 1984, acrylic, lacquer, on cotton
Richter, Ema (Nude on a Staircase), 1966
Oil on canvas
6' 6 3/4" x 51 3/16" (200 x 130 cm)
Museum Ludwig, Cologne
Richter, Annunciation after Titian, 1973
Oil on linen, 49 3/8" x 6' 6 7/8" (125.4 x 200.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington
Richter, Arrest 1
(Festnahme 1), 1988, Oil on Canvas, 92 cm X 126.5 cm, "October 18, 1977" series, MOMA
Richter, Confrontation 2
(Gegenüberstellung 2), 1988. Oil on Canvas
112 cm X 102 cm, "October 18, 1977" series, MOMA
Richter, Hanged
(Erhängte), 1988, Oil on Canvas
201 cm X 140 cm, "October 18, 1977" series, MOMA
Richter, Funeral (Beerdigung), 1988, Oil on Canvas
200 cm X 320 cm, "October 18, 1977" series, MOMA
Richter, Red-Blue-Yellow, 1972
Oil on canvas
59 1/16" x 59 1/16" (150 x 150 cm)
Di Bennardo Collection
Richter, Abstract Painting (726), 1990, Oil on canvas
unconfirmed: 2500 x 3500 mm
Tate
Schnabel, Circumnavigating the Sea
Of Shit, 1979
Schnabel, Exile, 1980
Schnabel, Portrait of God, 1981
Schnabel, The Unexpected Death of Blinky Palermo in the Tropics, 1983
Salle, View the Author Through Long Telescopes, 1980, Acrylic on canvas, 72 x 96 in., The Museum of Contemporary Art, Los Angeles
The Barry Lowen Collection
Salle, Burning Bush, 1982, Oil and acrylic on canvas
H92 x w118 in.
Salle, Jockey, 1987, Oil and acrylic on canvas, h: 42 x w: 62 in, Baldwin Gallery
Fischl, Sleepwalker, 1979
Fischl, Bad Boy, 1981
Fischl, Her Master's Voice, 1983
Fischl, The Old Man’s
Boat and the Old
Man’s Dog, 1983
Longo, Untitled (City Men), 1987
Longo, Untitled (City Men), 1987
Longo, Tumbling Woman, 2001-02, cast bronze, Smart Museum of Art, Lent by The GUC Collection (Courtesy: Mary Boone Gallery, New York). This sculpture, installed in the courtyard shared by the Smart Museum and the Cochrane-Woods Art Center, was inspired by the events of September 11, 2001.
Haring, "Subway Drawing", 1980s
Haring, Untitled, 1981
Acrylic and Marker on Metal
47 1/4 x 47 1/4 inches
120 x 120 cm.
Haring, Untitled, 1984, Acrycli on muslin tarpaulin, 120 x 180 in, Private collection
Haring,
left - Untitled, 1984, vinyl paint on vinyl tarp, 8' x 8'
right - Untitled (for Bobby), 1984, acrylic on leather hide, 46" x 82 1/2"
Basquiat, Cadillac Moon, 1981
Basquiat, Untitled, 1981
Basquiat, MK, 1982
Basquiat, Hollywood Africans, 1983, Acrylic ,and Oil Paintstick on Canvas, 84" x 84", Collection of The Whitney Museum of American Art, New York
Basquiat, Horn Players, 1983
Basquiat, Flexible, 1984
Tansey, The Innocent Eye Test, 1981, oil on canvas, Metropolitan Museum of Art
Tansey, Action Painting II, 1984
Museum of Fine Arts, Montreal, Canada
Tansey, Triumph of the New York School, 1984
Oil on canvas, 74 x 120 in. (188 x 304.8 cm)
Whitney Museum of American Art, New York
Tansey, Mont Sainte-Victoire, 1987, Oil on canvas, 100 x 155 in. (254 x 393.7 cm)
Thomas Ammann, Zurich
Halley, Blue Cell with Triple Conduit, 1986
77 x 77 inches
Halley, Two Cells with Conduit, 1987. Day-Glo, acrylic, and Roll-a-Tex on canvas, two panels, 78 5/8 x 155 1/8 inches overall. Solomon R. Guggenheim Museum
Halley, A Perfect World, 1993
acrylic, Day-Glo acrylic and Roll-a-Tex on canvas
90 x 147 3/16 inches
Broad Art Foundation
Levine, After Walker Evans, 1981
Levine, After Egon Schiele, 1982, Seven gelatin silver and eleven chromogenic prints; edition two of two, 35.6 x 27.9 cm (14 x 11 in.), each, unframed; 175.26 x 307.34 cm (69 x 121 in.), installed, Art Institute of Chicago
Levine, Fountain (after Marcel Duchamp: A.P.), 1991
Bronze, Walker Art Center
Horn, Scratching Both Walls at Once 1974-75
Horn, Ballet of the Woodpeckers, 1986
Mixed media installation, Tate
Horn, Concert for Anarchy,1990
Painted wood, metal and electronic components
unconfirmed: 1500 x 1060 x 1555 mm
Tate
Smith, (foreground) Untitled, 1989-1990, Two hundred thirty cast-glass piece (sperm), on three rubber sheets, 6 to 8 in. each, The Museum of Contemporary Art, Los Angeles
Smith, Untitled, 1990, twelve mirrored and etched glass jars, 27 x 15 x 15 inches each, The Museum of Contemporary Art, Los Angeles
Smith, Lilith, 1994, Silicon bronze and glass, Height: 33 in. (83.2 cm)
Museum of Fine Arts, Boston
Smith, Untitled (Train), 1994, wax with beads, 53 x 55 x 168 in., Collection of Mandy and Cliff Einstein
Smith, Born, 2002, Bronze, 39 x 101 x 24" (99.1 x 256.5 x 60.9 cm.), Albright Knox Gallery
Sherman, Untitled Film Still #10, 1978
Sherman, Untitled Film Still #21, 1978
Sherman, Untitled Film Still #34, 1979
Black-and-white photograph, AP 2/2; edition of 10 + 2 Aps, 10 X 8 in.
Metro Pictures
Holzer,T-shirt, 1983
Holzer, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989
Extended helical tricolor L.E.D. electronic-display signboard in two sections, site-specific dimensions. Solomon R. Guggenheim Museum
Kruger, Untitled (Not Perfect), 1980. Photograph, tape, and paint, mounted on paper board, 60 x 40 inches. Solomon R. Guggenheim Museum
Kruger, Untitled (You Art Not Yourself), 1980
182.9x121.9cm
Kruger, Untitled (your body is a battleground), 1989
photographic silkscreen on vinyl
112 x 112 inches
Kruger, Installation At The Mary Boone Gallery, 1991
Hsieh, One Year Performance, 1978–1979 “The Cage Piece”: September 29th, 1978 through September 30th, 1979
Hsieh, One Year Performance, 1980–1981 “The Time Piece”: April 11th, 1980 through April 11th, 1981
Hsieh, Art / Life: One Year Performance, 1983–1984 (collaboration with Linda Montano)
Abramovic, Rhythm 10, 1973
Edinburgh Festival
Abramovic, Rhythm 5, 1974
Abramovic, Rest Energy, 1980
Abramovic, The House With the Ocean View, 2002, 12 day public performance, Sean Kelly Gallery, NY
Abramovic, The Artist is Present, 2010, performance with Ulay, MOMA
Eliasson, The Weather Project,
Tate Modern, London, 2003
Lee, The Tourist Project (13), 1997, Fujiflex print, 28 1/4 x 21 1/2 or 40 x 30 inches
Lee, The Hispanic Project (25), 1998, Fujiflex print, 21 1/2 x 28 1/4 or 30 x 40 inches
Lee, The Ohio Project (7), 1999, Fujiflex print, Collection of Leslie Tonkonow and Klaus Ottmann
Lee, The Hip Hop Project (29), 2001, Fujiflex print, 28 1/4 x 21 1/2 or 40 x 30 inches
Smith, from "The Artist's Rifle" Series, 1997
Smith, from "Make My Night" series, 1998
Smith, from "This Is Not Pornography" series, 2002
Koons, New Hoover Deluxe Shampoo Polishers, New Hoover Quik-Broom, New Shelton Wet/Drys Tripledecker, 1981-1987
Three shampoo polishers, three vacuum cleaners, plexyglas, 231 x 132 x 71 cm
Koons, One Ball Total Equilibrium Tank, 1985, Glass, steel, sodium chloride reagent, distilled water, basketball, 165 x 78 x 34 cm
Koons, Rabbit, 1986
Koons, Michael Jackson and Bubbles, 1988
Koons, Manet, 1991
Gilbert & George, The Singing Sculpture, 1970
Gilbert & George, Gordon's Makes Us Drunk 1972
Video, duration: 12 min., Tate
Gilbert & George, Here, 1987, Hand-dyed photographs, mounted and framed in 35 parts; 119 x 139 in. (302.5 x 353.1 cm)
Craig-Martin, An Oak Tree, 1973, National Gallery of Australia
Gormley, Untitled (for Francis), 1985
Mixed media, 1900 x 1170 x 290 mm, Tate
Gormley, Angel of the North, 1997-98
Gormley, One & Other 2009, Fourth Plinth, Trafalgar Square, London
Wilson, 20:50, installation, used sump oil, metal, Saatchi Gallery, London
Hirst, The Physical Impossibility of Death In the Mind of Someone Living, 1990, Saatchi Collection
Hirst, A Thousand Years, 1990, Saatchi Collection
Hirst, Some Comfort Gained From The Acceptance Of The Inherent Lies In Everything (fragment), 1995-6, 200x90x30 cm (each unit), Saatchi Collection
Hirst, This Little Piggy Went To Market, This Little Piggy Stayed At Home, 1996, Saatchi Collection
Hirst, beautiful revolving sphincter, oops brown painting, 2003, Household gloss paint on canvas, 72" diameter
Hirst, For The Love of God, 2007, platinum, diamonds, human skull, human teeth,
Harvey, Myra, 1995, Acrylic on canvas, 396 x 320 cm, Saatchi Collection
Ofili, The Holy Virgin Mary, 1996
Lucas, Two Fried Eggs and a Kebab, 1992 Saatchi Collection
Lucas, Human Toilet Revisited 1998, photograph on paper, 1580 x 1536 mm, Tate
Emin, Everyone I Have Ever Slept With, 1963-95, 1995
Emin, My Bed, 1998, Mattress, linens, pillows, objects
79 x 211 x 234 cm
Saatchi Collection
Saville, Branded, 1992, oil on canvas, 84 x 72 in.
Saville, Plan, 1993, oil on canvas, 9’x7’
Chapman Brothers, Great Deeds Against The Dead, 1994
Mixed media, White Cube Gallery
Chapman Brothers, Fuckface, 1994
Chapman Brothers, Arbeit McFries, 2001, Mixed media, 48x48x48”, White Cube Gallery
Chapman Brothers, Unholy Trinity, 2002, painted bronze, 180x210x60cm, White Cube
Turk, Cave 1991
Chodzko, 'God Look Alike Contest’, 1992
Thirteen framed images of various dimensions.
Quinn, Self, 1991, formerly in the Saatchi Collection
Quinn, Alison Lapper Pregnant, 2005 by Marc Quinn. Sculpture in white marble, Trafalgar Square, London
Whiteread, Ghost, 1990
Saatchi Gallery
Whiteread, House, 1993-4
193 Grove Road in Bow, E3, London
Wearing,
from Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say
`I'm desperate' 1992-3
Colour photograph on paper
unconfirmed: 1220 x 920 mm
on paper, print
Tate
Wearing, Sixty Minute Silence, 1996
Wearing, 10-16, 1997
Landy, Break Down, 10 – 24 February 2001
former C&A store at Marble Arch, 499 – 523 Oxford Street, London W1
Creed, Work #88, 1994
Creed, Work #127 (The Lights Going On And Off), 1995
Smith, Improve the Cat, 1999
Cat food label, 10x10cm
Carbone Gallery, Torino
Smith, "Art Amnesty" Oct. 11-Nov. 11, 2002, at Pierogi,
177 N. 9th Street, Brooklyn, N.Y. 11211 10/10/02
FUENTE: Contemporary Art History,
Juan Antonio Guirao (Jaén, 1932-Almeria, 2010)
es uno de esos artistas que triunfó fuera de su país pero que es un gran desconocido para el público español
hace reflexionar al espectador sobre cuestiones esenciales y consustanciales con el ser humano. Y como pretendía Guirado, al final es el propio espectador el que tiene que buscar su propia respuesta a todas estas cuestiones.
- surrealismo-futurismo
juan antonio guirado, Reencarnaciones bajo tierra, h. 2000,
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