The Artist in the 20th-21st Centuries: Cultures in Collision

Description: write all the details what happen on each topic that list on A,B,C,D,E for each topic in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in bullet poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int 1. Abstractions I: Kin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inetic Art, 1955-1967 a. The exhibition Le Mouvement (1955) & motion/emotion b. Modernist pain" rel="nofollow">in" rel="nofollow">in" rel="nofollow">intin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing & “presentness” (Fried) c. Min" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inimalism and the duration of experience d. Two models of “theatricality” (Krauss) 2. Abstractions II: Neo-Concrete Art a. Neo-Concrete art as “rejoin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inder” (Brett) b. The “rationalism” of Concrete art (Max Bill) c. The “Non-Object” (Gullar) d. Lygia Clark, An Uncommon Beast, 1963 & Trailin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing, 1964 e. Helio Oiticica, Bólides, 1963-69 3. Process and Material I: Postmin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inimalism a. Postmin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inimalism (defin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ined in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in Live in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">in your Head & Anti-Illusion exhibitions) b. Richard Serra, Gutter Corner Splash: Night Shift, 1969/1995. c. Robert Morris, Untitled, 1969 d. Eva Hesse, Addendum, 1967 & No Title, 1969-70 e. Shelia Hicks, The Prin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inciple Wife Goes On, 1969. f. Fiber Art and the hierarchy between art & craft (Auther) 4. Process and Material II: Mono-Ha and Tansaekhwa a. The “practice of the world (sekai)” (Kee) b. “Chaotic Input” (Chomsky) c. “Simultaneity” & the “in" rel="nofollow">in" rel="nofollow">in" rel="nofollow">interconnectedness of thin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ings” (Ha Chonghyun) d. Tansaekhwa & Five Korean Artists, Five Kin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inds of White, Tokyo Gallery 
(1975) e. Mono-Ha & “non-art” f. Lee Ufan, Relatum, 1971 g. The “Death of the Author” (Barthes) h. Lee Ufan, From Lin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine, 1973 & From Poin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">int, 1977 5. The End of History? I: Multiculturalism circa 1993 a. The “End of History” (Fukuyama) b. Daniel Martin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">inez, I Can’t Imagin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ine Ever Wantin" rel="nofollow">in" rel="nofollow">in" rel="nofollow">ing to Be White, 1993 c. Glenn Ligon, Untitled, 1990 d. Byron Kim, Synecdoche, 1991-present e. “Identity politics” and the 1993 Whitney Biennial 6. The End of History? II: The Global Rise of ‘Biennial Culture’ a. Les Magiciens de la terre, Centre Pompidou (1989) b. Globalization (Jameson) c. Biennials as engagement with vs. symptom of globalization d. “Transnational transculturalism” (Kapur, pg. 183) e. Comparative art history (Kwon)