01 George Grosz (American, born Germany. 1893-1959). A Victim of Society (Ein Opfer der Gesellschaft) 1919.02 J Heartfield The Meaning of the Hitler Salute (1932)

03 John Heartfield04 John Heartfield, Photomontage (1933)05 J Heartfield superman06 Kurt Schwitters, Opened by Customs, 1937-8, paper collage, oil and pencil on paper07 Kurt Schwitters. (German, 1887-1948). Merz Picture 32 A. The Cherry Picture. 1921.

08 Raoul Hausmann, Austrian (1886-1971). Mechanical Head (Spirit of Our Age) ca. 1920.08.1 Raoul Hausmann, Untitled, undated, lithograph and photographic collage on paper

09 El Sissitzky_Workers and smokestacks_photograph_ c193010 rodchenko

Hanna Hoch 1920Hannah Hch (German, 1889-1978). Cut with the Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919-1920

11 Duchamp L.H.O.O.Q. 1919

12 Rauschenberg Erased de Kooning Drawing

13 Jasper Jonhs_Flag_195514 Rauchenberg_Factum I_Factum II_1957

15 DanGraham Homes for America16 DanGraham Homes for America2

Graham's work was always firmly based within conceptual art practice. Early examples were photographs and numerological sequences, often printed in magazines, for example Figurative (1965) and Schema (1966). With the latter Graham draws on the actual physical structure of the magazine in which it is printed for the content of the work itself. As such the same work changes according to its physical/structural location within the world. His early breakthrough-work however was a series of magazine-style photographs with text, Homes for America(1966 67), which counterpoints the monotonous and alienating effect of 1960's housing developments with their supposed desirability and the physical-geometry of a printed article

"Broodthaers reduces Un Coup de Ds to its structure - or to put it another way he elevates the structure of the work to a concept worthy of study in its own right, thus acknowledging Mallarm's own fetishistic attention to this aspect of his work. Rendering the structure concrete, visible, almost tactile, Broodthaers offers a conceptual analysis of Mallarm'spoem across the distance of a nearly a century...It would be hard to imagine a more subtle treatment of Mallarm'swork, or one more capable of demonstrating its essential properties, than this reworked book by Broodthaers." Johanna Drucker

Mallarm

18 Marcel Broodthaers na abertura do Museu

21 Michael-Asher apropriao de George Washington

22 BarbaraKruger-I-Shop-Therefore-I-Am-II-1987

23 Jenny Holzer

24 Martha Rosler

Martha RoslerThe Bowery in two inadequate descriptive systems, 1974-1975

Martha RoslerThe Bowery in two inadequate descriptive systems, 1974-1975 (detalhe)

Alguns links para vdeos de Dara Birnbaum:

http://www.dailymotion.com/video/x4y5e5_dara-birnbaum-technology-transforma_shortfilmsTechnology/Transformation: Wonder Woman ou http://www.youtube.com/watch?v=k6xZOUXNyQgDara Birnbaum1978-79, 5:50 min, color, soundExplosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative running, spinning, saving a man

allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

http://www.ubu.com/film/birnbaum_faust.html

25 Sherrie Levine_Fonte (depois de M duchamp) 1991 bronze26 Sherrie Levine_Depois de Walker Evans_1981