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HA3222

HA3222

UNIVERSITY OF WARWICK

Summer Examinations: 2000/2001

ART WITHIN WALLS

Time allowed: 3 hours.

Candidates must attempt ALL questions.

Questions 1 and 2 each count for 1/4 of the marks; and 3, 4 and 5 each for 1/6. Candidates are advised to spread their time accordingly between the questions.

Refer to each image by the number and letter on the back.

Read carefully the instructions on the answer book and make sure that the particulars required are entered on each answer book.

Photographs and photocopies MUST NOT be defaced or removed from the examinations room.

1. Identify, date, and compare the different projections of spectatorship in the exhibitions shown in A, B, and C.

2. Account for the different interpretations of Abstract Expressionism in the three different exhibitions from 1952, 1953, and 1964 seen in A, B and C.

3. Discuss the different motivations behind Andy Warhol's and Robert Morris' attempts to provide a physical experience of art in their installations seen in A and B.

4. Both Christo and Whiteread use 'absence' as their primary strategy in addressing the legacies of the past. Do they do so in A and B with the same intention and to the same effect?

5. Compare the display strategies in the Tate Modern (A) and the 'Great German Art Exhibition' of 1937 (B).

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PHOTOMASTER

HA3222

UNIVERSITY OF WARWICK

Summer Examinations: 2000/2001

ART WITHIN WALLS

1.A 14th Secession Exhibition (Beethoven Exhibition), Secession Building, Vienna, 1902

B El Lissitzky, Abstract Cabinet, Provinzialmuseum Hannover, 1927/8

C Art in Our Time, exhibition, Museum of Modern Art, New York, 1939

2.A 15 Americans, exhibition, Museum of Modern Art, New York, 1952

B Parallel of Life and Art, exhibition, Institute of Contemporary Art, London, 1953

C Documenta 3, exhibition, Museum Fridericianum, Kassel, 1964

3.A Clouds, Andy Warhol, installation in the Leo Castelli Gallery, New York, 1966

B Untitled, Robert Morris, installation in the Green Gallery, New York, 1964

4.A Wrapped Reichstag, Christo and Jeanne-Claude, scale model, 1978

B Model for Judenplatz Holocaust Memorial, Rachel Whiteread, model, 1995

5.A Installation View of Landscape, Matter, Environment, Tate Modern, London, 2000

B Installation View of Great German Art Exhibition, Haus der Kunst, Munich, 1937

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