final exam -- realism to postmodernism

WORTH A STAGGERING 200 POINTS

***answers should be written in your own words. Do not copy and do not quote

*** TAKE HOME: ANSWER ALL FIVE QUESTIONS

*** IN CLASS: ANSWER QUESTION #5 AND BRING IT WITH YOU TO THE SCHEDULED EXAM

1. In a detailed and thorough essay, discuss the "evolution" and long-reaching significance of Cubism, using the following questions as a guide. A complete answer will utilize no less than 6 works of art (3 for the phases of cubism; 3 for theoretical extensions). How and why did Cubism develop through a series of phases? What were the theoretical implications of each phase? What were the cubists trying to achieve in terms of the nature of modernism and the relationship to the viewer? Of the "intellectual followers" of cubism, describe distinct artistic "responses" that you believe posed the most significant theoretical extensions of the ideas cubism raised. 40 points

2. In a detailed and thorough essay, construct an argument based on the following statement: Marcel Duchamp is the "father" of postmodernism. A complete answer will utilize no less than 6 works of art (2 by Duchamp; 4 by other artists of your choosing). Make sure to use and define terms (like postmodernism, dada) and explain the characteristics of these and the other styles/artists that you have chosen. 40 points

3. In a detailed and thorough essay, describe how artists from the following periods address the issue of what ART is in a "pure" sense. What role do the formal elements (line, color etc.) and choice of medium play? What of the artists role in art making? Is the artist "identified" or not? why? Make sure to discuss both STYLE and THEORY!!! Use one specific example from each of the following categories. It may be appropriate (depending on your choices) to consider biographical and/or historical issues as well. 40 points

• Surrealism
• American Abstract Expressionism - "Action"
• American Abstract Expressionism - "Color Field"
• Minimalism (painting)
• Minimalism (sculpture)
• European Figural Abstraction (Bacon or Dubuffet)

4. Develop an essay that discusses the changing nature of "space" as utilized by artists during the second half of the course. By analyzing specific works, consider changes in

(a) illusionistic space of two-dimensional works by Barnett Newman and Lucio Fontana

(b) the combining of two and three dimensions in works of art by Robert Rauschenberg

(c) the nature of space as defined by the sculptures of Carl André and Dan Flavin

(d) the use of space by "installation artists" (choose Pfaff or Kabakov) and "site works" (choose Christo, Smithson or Goldsworthy). Make sure to identify theoretical precepts when applicable. 40 points

QUESTION #5 IS MANDATORY FOR ALL STUDENTS (in class AND take home) If youÍre taking the in-class version, bring your completed essay and diagram (s) to the final exam. It will be collected BEFORE you begin the exam.

5. Hypothetical situation: you have been asked to take a group of senior high schoolers or freshmen college students to a Modern Art Museum that has just opened. You have not been there before. The students have little knowledge about art, especially about contemporary [postmodern] art.

(a) How would you explain postmodernism to these students? (theory, characteristics, etc.) 10 points

(b) Develop a plan or strategy for describing and investigating ANY work of art that you might encounter, based on what you believe postmodernism to be and why contemporary art is important. This plan could then be used by the students on their own. You can make a diagram if you want, but an outline of your strategy would suffice. 30 points

In order to complete this project you must decide what you feel YOU need to know in order to approach a work of art that you've never seen before. This will be different for everyone, depending on your major, prior experience etc. Artists will be able to draw on experiences in class critiques; Art Education majors should have addressed this issue before etc. Non-art majors may feel as ill-prepared as the students themselves. You may want to explain briefly "where you are coming from" in your preparation of this plan. You will be given a couple of sample diagrams as examples, not so much for expected format as for the development of a list of possible avenues for investigation of a work of art. Your plan MAY include aspects that would have to be researched by the students following the visit to the art museum, but you may not "cop out" from discussing the work of art on the basis that research has to be done. The point is to stimulate appreciation and interest within these students, who very well might make obnoxious comments about the works you are looking at [They may not believe certain works are "art" at all; they may think you are crazy; they may say "anyone could do that"]. You may assume that a certain percentage of students will not be interested no matter what you do. Direct your method to what could be defined as interested and borderline interested students who generally avoid art museums because they don't feel equipped to "deal" with the work they see there.