FILM 3660 1nd EditionEXAM STUDY GUIDE AND ANSWER KEYMATCH THE KEY TERMS:1. Real Space (pg. 536-537) 2. Virtual Space (pg. 536-537) 3. Meaning as Use/ Meaning as Context (pg. 537) 4. Phenomenology (pg. 538) 5. Death of author (pg. 537) 6. Theatricality (pg. 539) A. Looking through a picture to gather meaning and depth, typically the picture hangs flat against the wall. B. When art engages with the space around itself and disrupts the relationship between art and the environment. C. The way in which our lived experience is authoritative to meaning and functions through the body’s immersion in the world.D. A L shaped beam in the center of a room that has depth within itself and creates a consciousness of space with the viewer as they walk around it.E. The meaning of the words we speak are not secured by the intentions we have prior to saying them and the meaning of words are not a function of absolute definition, instead they are defined within the context of their application.F. The process of taking meaning and depth away from the artist or creator and giving it to the audience or viewer. Minimalist distribution of meaning. FILL IN THE BLANKS:WORD BANKDistribution form Photoconceptualism Site-Specificity Deskilling The Performative Model Conceptualism An Aesthetic of the Supplement Expanded Field 1. ________ has occurred because of the readymade and industrialized art mediums. We have changed the way we judge art because anyone can make it.2. Photography and Videos became the focus of art due to ____________and importance of art as a concept and not aesthetic. 3. Minimalist artist Ed Ruscha created a photo book documenting 26 gas stations across the United States; through the creation of copies there was no longer one original form of the photo book. The emphasis of his work was on:_____________.4. _________is a minimalist form of art that degrades visual expression. Your eyes do not do the work; it is your responsibility as the viewer to gather meaning.5. _______________is responsible for highlighting external forces that govern the production and reception of art.6. Sol LeWitt’s “Red Square, White Letters” is an example of a ___________. Replacing the visual structure of a work by the color and shape names of its visual units7. When a minimalist artist takes a public or private place and makes it a function oflight and space for the viewer’s field of vision. __________requires the artist to minimally intervene in the location of their art. 8. By lifting the field of such a representation off the ground of real space, an __________ such as a pedestal has established virtual, symbolic nature of representation while being physically linked to the actual site. MATCH THE KEY TERMS (Part 2):1. Institutional Critique (pg.591) 2. The Picture (pg.624) 3. Appropriation (pg. 625) 4. Sign Exchange Value (pg. 625) 5. The Performative (pg. 627) 6. The Serial (pg. 630) 7. The Simulacral (pg.630) 8. Sociological Mapping (pg. 668) 9. The artist-as-curator (pg. 670) A. An aesthetic origin that has no specific medium and delivers its message equally through magazines, billboards, books and all other forms of mass culture. B. A narrative role or position played by a person (usually women) – what it lacks in truth-value it makes up in its assumption of power and agency. C. Attempting to shift the context of aesthetics towards socioeconomic ideologies ina mechanical way. D. A fashion logo being worth much more than the handbag it is attached to. E. An image that represents, but not guarantees, a portion of reality. (ex. A photograph isn’t real, but it effects the real) F. When an artist uses museums to study how specific art pieces and artifacts are translated into historical evidence or cultural exemplars. (ex. Fred Wilson, AndreaFraser & Renee Green.G. The polite term for “stealing” or transferring a picture using photography. H. The shift of literal and physical understanding to abstract and subjective understanding. (ex. Researching and explaining the correlation between Minimalist structures in tract-housing developments.)I. A postmodern term for a photograph with multiple copies but no original print. MATCH THE ARTWORK WITH IT’S TITLE, ARTIST and DATE: A. C.B. D.E. H. F. I. G. J.K. N. L. O. M. P.Q. T. R. S.1. Warhol, 32 Campbell’s Soup Cans, 1962. Synthetic polymer paint on thirty-two canvases. 2. Marcel Duchamp, Etant Donnés, 1946-66. Mixed-media assemblage 3. Robert Morris, Card File, 1962. Metal and plastic wall file mounted on wood, containing 44 index cards, 27 x 10 x 2. 4. Michael Asher, Pomona College Project, 1970. 5. Hans Haacke, Shapolski et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971. 6. Lawrence Weiner, Statements. 1968. Book 7. Fred Wilson, Mining the Museum, 1992. Detail. 8. Tom Burr, Movie Theatre Seat in a Box, 1997. Wood, silver perspex mirror, carpet, seat, chewing gum, 42 ¼ x 36 x 36.9. Daniel Buren, Photo-souvenir, “Peinture-Sculpture,” work in situ, at the Sixth Guggenheim International Exhibition, Guggenheim Museum, New York, 1971.10. Renée Green, Seen, 1990. Wood structure, height 81 ½ x 81 ½ x 53 ½, lens hologram, screen, light, and audio system. 11. Dan Graham, Homes for America, “Split Level” and “Ground Level,” “Two Home Homes,” 1966. Two photographs, 10 x 17. Donald Judd, Untitled, 1963. Light cadmium-red oil on wood 12. Robert Morris, from left to right: Untitled (Table), Untitled (Corner Beam), Untitled (Floor Beam), and Untitled (Cloud). Installation at the Green Gallery, December 1964-January 1965 13. Robert Morris, Statement of Aesthetic Withdrawal, 1963. Types and notarizedstatement on paper, sheet of lead over wood, mounted in imitation leather mat, 18 x 24. 14. Cindy Sherman, Untitled Film Still #39, 1979. Black-and-white photograph, 10 x 8 15. Robert Morris, Untitled (Three L-Beams), 1965-6. Installation at Leo Castelli Gallery. 16. Cindy Sherman, Untitled Film Still #7, 1978. Black-and-white photograph. 17. Robert Morris, Card File, 1962. Metal and plastic wall file mounted on wood, containing 44 index cards, 27 x 10 x 2. 18. Carl Andre, Equivalent (VIII), 1966. Fire bricks. 19. Ed Ruscha, from Twenty Six Gasoline Stations, 1962. Artist’s photobook 20. Sherrie Levine, Untitled, After Edward Weston I, 1980, Photograph, 10 x 8 DESCRIBE THE AESTHIC SIGNIFICANCE OF EACH WORK BELOW:1. Warhol, 32 Campbell’s Soup Cans, 1962.