Exhibition Overview

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The Pictures Generation, 1974–1984 | The Metropolitan Museum of Art Exhibitions / The Pictures Generation, 1974–1984 The Pictures Generation, 1974–1984 APRIL 21–AUGUST 2, 2009 Exhibition Overview This is the first major museum exhibition to focus exclusively on "The Pictures Generation." Educated in the self-reflexive and critical principles of Minimal and Conceptual art, this tightly knit group of artists brought those lessons to bear on a return to recognizable imagery, exploring how images shape our perceptions of ourselves and the world. Featured are 160 works in all media by thirty artists. List of artists: John Baldessari, Ericka Beckman, Dara Birnbaum, Barbara Bloom, Eric Bogosian, Glenn Branca, Troy Brauntuch, James Casebere, Sarah Charlesworth, Rhys Chatham, Charles Clough, Nancy Dwyer, Jack Goldstein, Barbara Kruger, Louise Lawler, Thomas Lawson, Sherrie Levine, Robert Longo, Allan McCollum, Paul McMahon, MICA-TV (Carole Ann Klonarides & Michael Owen), Matt Mullican, Richard Prince, David Salle, Cindy Sherman, Laurie Simmons, Michael Smith, James Welling, and Michael Zwack. The exhibition is made possible by the William Randolph Hearst Foundation and The Andy Warhol Foundation. http://www.metmuseum.org/exhibitions/listings/2009/pictures-generation 1/2 7/27/2017 The Pictures Generation, 1974–1984 | The Metropolitan Museum of Art Additional support is provided by The Robert Mapplethorpe Foundation, Inc. The catalogue is made possible by the Mary C. and James W. Fosburgh Publications Fund and the Antoinette Kraushaar Fund. The Pictures Generation, 1974–1984 Related Articles Left: Richard Prince (American, b. 1949). Untitled (four single men with interchangeable backgrounds looking to the right), 1977. Mixed media on paper; 23 x 19 in. (58.4 x 48.3 cm). The Metropolitan Museum of Art, New York, Purchase, Alfred Stieglitz Society Gifts, 2000 (2000.123). © Richard Prince © 2000–2017 The Metropolitan Museum of Art. All rights reserved. http://www.metmuseum.org/exhibitions/listings/2009/pictures-generation 2/2.

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Jack Goldstein; Distance Equals Control by David SaZZe This essay is offered as a compliment to the exhibition rather than an explication of specific works. The language used in this text is somewhat more general and anecdotal, and more given to metaphoric comparisons than what we have come to expect from art writing. I don't in this essay attempt to dissect a single ' - exemplar work, nor do I spend much time detailing the visual ,+ attributes of the works. This essay attempts instead to give a brief description of an ongoing process: the play of private fan- tasy, which itself grows out of the intersection of psychic necessity (desire)with the culturally available forms in which to voice that necessity (automaticity)becoming linked in a work of art to everyday, public images which then reenter and submerge themselves, via the appropriative nature of our attention, into a clouded pool of personal symbols. This three part process yields a two part result; a sense of control over what one has effected distance from, which is ironically expressed in a sense of anxiety embedded in the image used in a given work, and also a sense of sadness because of the loss one feels for the thing distanced. The result of this process is nostalgia for the present, which is the name given to a complex texture of imagizing in which mediation between extremes (differentiation) leads to a liberated use of symbol rather than more limited narrative notion of emblem. To consider this work at all involves thinking about a way to stand in relation to the use of images both rooted in and somewhat distanced from cultural seeing.
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