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  • 1. Art 3101 Powerpoint Two Powerpoint Presentation Two Dr. David Ludley
  • 2. William Wegman, “On Set”1994Color Polaroid, 24 x 20 inches© 2005 William WegmanCourtesy the Artist
  • 3. William Wegman,“Canon Aside,” diptych2000Color Polaroid, 24 x 20 inchesTop image of vertical diptych© 2005 William WegmanCourtesy the Artist
  • 4. William Wegman, “Miss Mit”1993Color Polaroid, 24 x 20 inches© 2005 William WegmanCourtesy the Artist
  • 5. William Wegman,“Stepmother”1992Color Polaroid, 24 x 20 inches© 2005 William WegmanCourtesy the Artist
  • 6. Bruce Nauman, “One Hun- dred Live and Die” 1984Neon tubing mounted on four metal monoliths, 118 x132 1/4 x 21 inchesCollection Fukake PublishingCo., Ltd., NaoshimaContemporary Art Museum, Kagawa, JapanCourtesy SperoneWestwater, New York,© Bruce Nauman/ArtistsRights Society (ARS), NewYork. "Im surprised whenthe work appears beautiful,and very pleased. And I think work can be very good andvery successful without beingable to call it beautiful,although Im not clear aboutthat. The work is good whenit has a certain completeness, and when its got a certaincompleteness, then itsbeautiful."— Bruce Nauman
  • 7. Bruce Nauman, “ViolinsViolence Silence”1981-1982Neon tubing with clear glass tubing suspension frame,60 1/2 x 66 1/2 x 6 inchesOliver-Hoffmann FamilyCollection, ChicagoCourtesy Leo CastelliGallery, New York,© Bruce Nauman/ArtistsRights Society (ARS),New York
  • 8. Bruce Nauman,“Room with My Soul Left Out, Room That Does Not Care”1984, Celotex, steel grate, yellow lights, 408 x 576 x 366Flick Collection. Courtesy Sperone Westwater, New York, © BruceNauman/Artists Rights Society (ARS), New York"[Living in New Mexico] lets me do the kinds of things outside that I couldnt do if I lived in town, in the city...it helps me to have a sense of place and security to go in the studio, because thats the place where you make yourselfinsecure.“ — Bruce Nauman
  • 9. Bruce Nauman, “Vices and Virtues,” installation views, 1983-1988Neon tubing and clear glass tubing, mounted on aluminum support grid, height 84Inches.The Stuart Collection, University of California, San Diego. Purchase with fundsfrom the Staurt Foundation and the National Endowment for the Arts. CourtesySperone Westwater, New York, © Bruce Nauman/Artists Rights Society (ARS),
  • 10. Bruce Nauman, “Good Boy, Bad Boy,” details,1985. Two color videomonitors, two videotape players, two videotapes (color, sound),dimensions variable. Edition of 40. Courtesy Donald Young Gallery,Chicago, © Bruce Nauman/Artists Rights Society (ARS), New York"There wasnt a specific duration...this thing can just repeat and repeat and repeat, and youdont have to sit and watch the whole thing. You can watch for a while, leave and go havelunch or come back in a week, and its just going on. And I really liked that idea of the thing justbeing there. The idea being there so that it became almost like an object that was there, thatyou could go back and visit whenever you wanted to."— Bruce Nauman
  • 11. Bruce Nauman,“Clown Torture,” installation view,1987Four color video monitors, four speakers, four videotape players, two videoprojectors, four videotapes (color, sound), dimensions variable. Courtesy Donald Young Gallery, Chicago, © Bruce Nauman/Artists Rights Society (ARS), NewYork
  • 12. Kerry James Marshall, "Better Homes Better Gardens“ 1994. Acrylic andcollage on unstretched canvas, 100 x 142 inches. Denver Art Museum, SpecialFund. Courtesy Jack Shainman Gallery, New York. "The subject matter seemsin some ways less dramatic than the kinds of subjects represented in traditional history painting. Butthats also a part of what the painting is about. Its about those figures being represented that way: therelationship between this representation of figures and the absence of those kinds of representationsin that historical tradition of grand narrative history painting."— Kerry James Marshall
  • 13. Kerry James Marshall, "Many Mansions“ 1994. Acrylic and collage on unstretchedcanvas, 114 x 135 inches. Art Institute of Chicago, Chicago, IL. Courtesy Jack ShainmanGallery, New York. "The painting is built around what you could call a very classicallyRenaissance, architectural, or geometric structure. The most obvious thing you can see isthis pyramidal, triangulated structure that the figures are fitted into...One of the reasons Iused that structure was because when I started out the artists and works that I reallyadmired—like Géricaults The [Raft] of the Medusa—that whole genre of history painting,that grand narrative style of painting, was something that I really wanted to position my workin relation to. And so in order to achieve a similar kind of authority that those paintings had...I had to adopt the similar structural format to develop my painting."— Kerry James Marshall
  • 14. Kerry James Marshall, “Untitled (Altgeld Gardens)” 1995. Acrylic and collage on can-vas, 78 1/2 x 103 inches. Johnson County Community College, Overland Park, KSCourtesy Jack Shainman Gallery, New York. "The initial development of thatunequivocally black, emphatically black figure was so that I would use them as figuresthat function rhetorically in the painting...And one of the things that I had been thinkingabout when I started to develop that figure was the way in which the folk and folklore pfblackness always seemed to carry a derogatory connotation...A part of what I was thinkingto do with my image was to reclaim the images of blackness as an emblem of power,instead of an image of derision.“ — Kerry James Marshall
  • 15. Kerry James Marshall, "Our Town“ 1995. Acrylic and collage on unstretched canvas,100 x 124 inches. Collection of the artist, Chicago. Courtesy Jack Shainman Gallery,New York. "The condition of invisibility that Ralph Ellison describes [in Invisible Man] isnot a kind of transparency, but its a psychological invisibility. Its where the presence ofblack people was often not wanted and denied in the American mindset. And so what Iset out to do was to develop a figure or a form that would represent that condition ofinvisibility, where you had an incredible presence, but there was a way in which youcould sometimes be seen and not seen at the same time.“ — Kerry James Marshall
  • 16. Kerry James Marshall,“RHYTHM MASTR,” prepara-tory drawing,1999-2000.Photocopy of ink drawing, anddesign marker on paper, 17 x11 inches. Courtesy the Artist"I thought what I would do withthis project would be to take aform that is, in some ways,already undervalued in America,take a subject thats under-represented, and try to develop acomic strip with a set ofcharacters that had culturalsignificance but also allowed fora kind of imaginative play andinspiration. What I hit on as asubject was this idea that, forblack people, the set of superheroes we come to know any-thing about have a lot to do withWest African religious gods in asense."— Kerry James Marshall
  • 17. Kerry James Marshall,“Souvenir II” 1997Acrylic, paper, collage, andglitter on unstretched canvas108 x 120 inches. AddisonGallery of American Art,Phillips Academy, Andover,Massachusetts. CourtesyJack Shainman Gallery,New York. "I dont think thatsimply because I am anartist, or because anybody isan artist, that people ought togive their attention to thethings that weve made. Insome ways we have to earnour audiences attention, andone of the ways we earn ouraudiences attention is tomake things that arephenomenologicallyfascinating."— Kerry James Marshall
  • 18. Kerry James Marshall, “Souvenir IV”1998. Acrylic, collage, and glitter on unstretchedcanvas, 108 x 156 inches. Whitney Museum of American Art, New York. Purchase withfunds from the Painting and Sculpture Committee Photo by Tom Vand Eynde. CourtesyJack Shainman Gallery, New York. "The way I see beauty is as a state of being for athing that has a kind of fascination about it, or as a thing that presents a certain kind offascination to you as a viewer. Its certainly something thats captivating; its somethingsthats compelling. Beauty is a phenomenological experience, and a basic component ofit is intrigue."— Kerry James Marshall
  • 19. Kerry James Marshall, "Mementos"1998. Installation at the Renaissance Society,University of Chicago. Over-sized stamps and "Souvenir" series. Courtesy Jack ShainmanGallery, New York. "I wouldnt say that I never think about beauty as an aesthetic issue.But I certainly think its a much more complicated issue then its imagined to be. I thinksometimes when people think of beauty they think of prettiness as a sign of beauty, but itsa lot more complicated and a lot deeper than that."— Kerry James Marshall
  • 20. Maya Lin, “Crater Series,” detail. 199711 beeswax sculptures, dimensionsvariable, glass shelf 1 1/2 x 96 x 10 inchesCourtesy Gagosian Gallery, New York"I think for me, my sculptures deal withnaturally occurring phenomena, and theyreembedded and very closely aligned withgeology and landscape and natural earthformations."— Maya Lin
  • 21. Maya Lin, “Crater Series” 1997. 11 beeswax sculptures, dimensions variable, glass shel1 1/2 x 96 x 10 inches. Courtesy Gagosian Gallery, New York. "I have two sides: creativityand the architecture. Its got ideas about framing the landscape, being ecologically andenvironmentally sensitive, not that a lot of the artworks arent using recycled materials andabout nature in another way. But formally, I liked that theyre different, that I dont want myarchitecture looking like my sculptures and I dont want the sculptures being at allarchitectonic in their form.“ — Maya Lin
  • 22. Maya Lin, "Rock Field“. 199746 glass components,dimensions variable Installationat the South Eastern Center forContemporary Art, Winston-Salem, North Carolina. Photo byJackson Smith. Courtesy theSoutheastern Center forContemporary Art and GagosianGallery, New York. "I would saythat so much of my work dealswith the plastic medium of clay...My childhood is the 60s, and thenotion of what plastic, fluid,design shapes were beginning tooriginate out of there, again,plays into the back of your head.But I think for me it was probablymy fathers potting that I wouldwatch. Thats something I really,really played with as a child andwas probably more of aninfluence."— Maya Lin
  • 23. Maya Lin,"Vietnam Veterans Memorial"1982Black granite, each wall: 246 feet long, 10 1/2 feet high where the two sides come together,Chevron shaped. More than 58,000 names, in order of death/disappearance. WashingtonD.C. Courtesy the National Park Service
  • 24. Maya Lin, "Civil RightsMemorial“ 1989Black granite, water table: 11 feet6 inches in diameter, water wall: 40 feet long x 10 feet highThe Southern Poverty LawCenter, Montgomery, AlabamaPhoto by John OHaganCourtesy The Southern PovertyLaw Center.
  • 25. Maya Lin, "Avalanche" 1997Tempered glass, 10 x 19 x 21Feet. Installation at the SouthEastern Center forContemporary Art, Winston-Salem, North Carolina. Photoby Jackson Smith. Courtesythe Southeastern Center forContemporary Art andGagosian Gallery, New York"The mediums I use rangewidely, from broken glass towater to granite. And I thinkformalistically, each time outwith these large scale works,they can look very different.But there are some very strongunderlying ideas that gothroughout the works. One ofthem is time, one of them is anidea about landscape and theearth, or natural states orphenomena." — Maya Lin
  • 26. Maya Lin, "Avalanche,"Detail of previous slide, 1997Tempered glass, 10 x 19 x 21Feet. Installation at the SouthEastern Center forContemporary Art, Winston-Salem, North Carolina. Photoby Jackson Smith. Courtesy theSoutheastern Center forContemporary Art andGagosian Gallery, New York"I think art is wonderful becauseits everything youve everknown and everything youveever done, somehowpercolating up, working withideas that you might want toexplore. And then you can justwake up one morning andknow what you want to do. Thehissing of the heat."— Maya Lin
  • 27. Maya Lin, "The Wave Field“ 1995. Shaped earth, 100 x 100 feet,University of Michigan, Ann Arbor, Michigan. "With the Wave Field in Michigan, it was foran aerospace engineering building and I had no idea what I was going to do. My site couldhave been in the building they were building or outside. And I just read up on aerospace and flightfor three months and then came up with the idea of the Wave Field, which is basically a book image of a natural occurring water wave that came about because flight requires resistance, and that led toturbulence studies, which led to fluid dynamics."— Maya Lin
  • 28. Louise Bourgeois, “Cell (Eyes andMirrors)”1989-1993Marble, mirrors, steel and glass, 93 x 83 x86 inchesCollection Tate Gallery, LondonPhoto by Peter BellamyCourtesy Cheim & Read, New York
  • 29. Louise Bourgeois, “Femme Volage (Fickle Woman)”1951Painted wood, 72 x 17 1/2 x 13 inchesGuggenheim Museum, New YorkPhoto by Allan FickelmanCourtesy Cheim & Read, New York
  • 30. Louise Bourgeois,“Femme Volage(Fickle Woman),”Detail of previousslide, 1951Painted wood, 72 x17 1/2 x 13 inchesGuggenheim Museum,New YorkPhoto by AllanFickelmanCourtesy Cheim & Read,New York
  • 31. Louise Bourgeois, “Spiral Woman”1984, Bronze and slate disc; bronze: 11 1/2 x 3 1/2 x4 1/2 inches, disc diameter: 1 x 34 3/4 inchesCollection Elaine Dannheiser, New YorkPhoto by Allan FickelmanCourtesy Cheim & Read, New York
  • 32. Louise Bourgeois, “Spiral”1994Watercolor, ink, and color pencil onpaper, 13 1/4 x 9 1/2 inchesPhoto by Beth PhillipsCourtesy the Artist
  • 33. Louise Bourgeois, “The Nest”1994, Steel, 101 x 189 x 158 inchesMuseum of Modern Art, San Francisco, CACourtesy Louise Bourgeois archive
  • 34. Louise Bourgeois, “One and Others”1955. Painted wood, 18 1/4 x 20 x 16 3/4 inchesWhitney Museum of American Art, New YorkPhoto by Jeffrey ClementsCourtesy Cheim & Read, New York
  • 35. Louise Bourgeois, “Articulated Lair” 1986Painted steel, rubber, and stool, 132 x 132 x 132 inchesThe Museum of Modern Art, New YorkGift of Lily Auchincloss and of the artist in honor of Deborah Wye Photo by Peter Bellamy
  • 36. Barbara Kruger, “Untitled (When I hear the worldculture, I take out my checkbook)”1985Gelatin silver print 138 x 60 inchesCollection of Eileen and Peter Norton, Santa Monica,CaliforniaCourtesy Mary Boone Gallery, New York
  • 37. Barbara Kruger, “Untitled(I shop, therefore I am)”1987Photographic silkscreen onvinyl, 111 x 113 inchesCourtesy Mary Boone Gallery,New York
  • 38. Barbara Kruger, “Untitled(Your body is abattleground)”1990Billboard, commissioned bythe Wexner Center for theArts, Columbus, Ohio, for its“New Works for New Spaces:Into the Nineties” exhibitionPhoto by Fredrik MarshCourtesy Wexner Center forthe Arts, Columbus, Ohio
  • 39. Michael Ray CharlesMichael Ray Charles’ paintings investigate stereotypes drawn from thehistory of American advertising, product packaging, billboards, andcommercials. Charles draws comparisons between Sambo, Mammy, andminstrel images of an earlier era and contemporary portrayals of blackyouths, celebrities, and athletes—images he sees as a constant in theAmerican subconscious.The Artist’s Words:"Ive heard a number of things, been called thesellout, the Chris Rock of the art world (I likethat one by the way). And people accuse meand question my blackness—they accuse meof making paintings that deal with these imagesbecause white folks want to see these imagesAnd Im saying to myself, Boy, I dont know, inthat white folks wanted to see these images tolaugh at?“ — Michael Ray Charles What do YOU think?
  • 40. Michael Ray Charles, “(Forever Free)‘Servin with a smile’” 1994, Acrylic latexand *copper penny on paper, 40 x 26 inchesPrivate collection, Photo by Beth PhillipsCourtesy Tony Shafrazi Gallery, New YorkThe Artist’s Words:"Ive seen some black folks refer to theseimages as black folks. Ive seen and heardwhite folk refer to these images as blackfolks. And its really disturbing. They dontsay images, they dont say representations,whether grotesque or accurate orabstracted...Thats troublesome because...theyre images that are constructed, theyreboth black and white, conceived in a whitemind and believed in the black mind."— Michael Ray Charles*SEE THE EXPLANATION OF THECOPPER PENNY IN EACH OF HISWORKS IN THE BOOK.
  • 41. Michael Ray Charles, “(ForeverFree) Buy Black!”1996. Acrylic latex, stain, andcopper penny on paper, 30 3/4 x24 1/4 inches. Private collectionPhoto by Beth Phillips. CourtesyTony Shafrazi Gallery, New YorkThe Artist’s Words:"Youve got to think of how theseimages were used in Americanculture...they were everywhereand they were used to marketanything from oils to ink, fromfood products to clothing...Peopleoperate from an emotional placewhen they see these imagesbecause they think of the past asbeing something that happenedand that the concepts dont linger.But these concepts continue toaffect us in many ways, in modernconcepts of advertising as well asin contemporary advertisements."— Michael Ray Charles
  • 42. Michael Ray Charles, “Before Black (ToSee or Not to See)” 1997, Acrylic latex,stain, and copper penny on paper, 60 x37 1/2 inches. Private collection. Photo byBeth Phillips. Courtesy Tony Shafrazi Gallery,New York.The Artist’s words:"Some black folks really see theimages and say, Thats us, but at the sametime thats not us. So theyre caught right inbetween it. Some white folks see the imagesand smile and laugh, and some are reallyconcerned and disturbed. And some arequite confused, just as confused as blacksare..."— Michael Ray Charles
  • 43. Michael Ray Charles, “After Black (To Seeor Not to See)” 1997. Acrylic latex, stain,and copper penny on paper, 60 x 36 inchesPrivate collection. Photo by Beth PhillipsCourtesy Tony Shafrazi Gallery, New YorkThe Artist’s words:"I think that these images are just as muchwhite as they are black. Theyve beenprojected and internalized. I think peoplehave accepted them to be, you know,representational, an accurate representation."— Michael Ray Charles
  • 44. Michael Ray Charles, “(Liberty BrothersPermanent Daily Circus) Blue Period” 1995Acrylic latex, oil wash, stain, and copper pennyon paper, 60 1/2 x 36 1/2 inchesPrivate collection. Photo by Beth PhillipsCourtesy Tony Shafrazi Gallery, New YorkThe Artist’s Words:"One could think about notions of blackness andhow theyre linked to entertainment, athleticism,sports (which has become another form ofentertainment) but never intellectualism for themost part. And if that is the case, its very rare.But for the most part, collectively, I would saythat blackness continues to hover around thiscomfort zone of entertainment—providers ofentertainment."— Michael Ray Charles
  • 45. Matthew Barney, “CREMASTER 1” 1995. Production still. Photo by Peter Strietmann,© 1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New YorkThe Artist’s words:"A lot of these angles—aside from the moving camera car are really about trying tomimic broadcast sports angles in order to anchor the scene, to sort of normalize itbefore it becomes abstracted, which is something we do often, and it happens a lot withsports references that are made in all the projects.“ — Matthew Barney
  • 46. Matthew Barney, “CREMASTER 1” 1995. Production still. Photo by Peter Strietmann,1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New YorkThe Artist’s words: "If there was a structure that was greater than the "CREMASTER"structure, it would have to be something like UPS—something thats fleet oriented, thatwould have air transport and a kind of local transport to really finish that line. You have akind of consistent color in the way that UPS is brown and the logo is gold."— Matthew Barney
  • 47. Matthew Barney, CREMASTER 1” 1995. Production still. Photo by Peter Strietmann, ©1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New York"In the interest of creating a system that has an internal logic, I think there are points in thestory where biological systems are referred to or used as art direction in a certain way. Ivealways thought of the project as a sort of sexually driven digestive system, that it was aconsumer and a producer of matter. And it is desire driven, rather than driven by hungeror anything like that. Its a desire in the sense of a kind of sexual desire."— Matthew Barney
  • 48. Matthew Barney,“CREMASTER 2” 1999Production still. Photo by MichaelJames O’Brien, © 1999 MatthewBarney. Courtesy BarbaraGladstone Gallery, New YorkThe Artist’s words:"The stories themselves are some-what interchangeable. In a sensetheyre kind of carriers. In otherwords, "CREMASTER 2" couldhave had a couple of other storiesother than Norman Mailers "TheExecutioners Song" to carry it."The Executioners Song" was itscarrier, in that the RockyMountains were the real story."— Matthew Barney
  • 49. Matthew Barney, “CREMASTER 4”1994, Production still. Photo by PeterStrietmann, © 1994 Matthew BarneyCourtesy Barbara Gladstone Gallery,New YorkThe Artist’s words:"I think a lot of the references I make toAmerican traditions—whether itsathletics or a kind of car culture—I thinkthose are things that Ive certainly grownup with and understand. It makes thosethings very available to me to use, and Iconsider them as kinds of vessels...theyre used as carriers...the concept ofa vehicle draws a line between locations...— Matthew Barney
  • 50. Matthew Barney, “CREMASTER 5”1997, Production still. Photo byMichael James O’Brien, © MatthewBarney. Courtesy Barbara GladstoneGallery, New YorkThe Artist’s words:"The cremaster are a set of musclesthat control the height of the internalreproductive system in the male. Itook that one as a title for a couplereasons, primarily in that the story,over the course of five chapters, hasto do with a kind of system whosestate is fluctuating, not necessarilyliterally as a reproductive system, butas a system whose identity ischanging."— Matthew Barney
  • 51. Matthew Barney,“CREMASTER 5” 1997Production still. Photo by MichaelJames O’Brien, © Matthew BarneyCourtesy Barbara GladstoneGallery, New YorkThe Artist’s words:"The five chapters of the story areabout an organism that ischanging, and the system thatchanges that form alters fromchapter to chapter...Its essentiallyabout an imposed will onto thestate of the [cremaster] form,sometimes in a very abstractway, sometimes in a more literal,biological way. But its basically astructural word. Its being used asa way to tell the story, and not asa way to define a biological systemat all."— Matthew Barney
  • 52. Matthew Barney,“CREMASTER 3” 2000Production still. Photo by ChrisWinget, © 2000 Matthew BarneyCourtesy Barbara GladstoneGallery, New YorkThe Artist’s words:"The story [of "CREMASTER 3"] hastwo principals, the Architect and theMasons Apprentice...The Architect,whos played by Richard Serra, isshown sort of as himself in thegame, throwing Vaseline on the topof "Level Five." And hes throwinghot Vaseline in exactly the sameway that he threw hot lead in thelate 60s."— Matthew Barney
  • 53. Andrea Zittel, “A-Z AdministrativeServices,” exterior view, 1997Williamsburg, Brooklyn, New YorkCourtesy the ArtistThe Artist’s words:"A lot of times I’d have to contact fabricators…and when I called(especially when I was twenty and Iwould call with my voice and my accent)no one would help me with anything.So I started using the title ‘A To ZAdministrative Services,’ almost as ajoke. And I made letterhead andbusiness cards and I’d call people upand I’d ask them for information. Andthey would automatically assume that Iwas a secretary calling for a legitimatecompany. Through the years it’s reallyopened a lot of doors and it’s reallyhelped me to function."— Andrea Zittel
  • 54. Andrea Zittel, “A-ZAdministrative Services,”exterior view, 1997Williamsburg, Brooklyn, NewYork. Courtesy the ArtistThe Artist’s words:"All of my work is done under thisidentity of ‘A To Z AdministrativeServices.’ I’ve been doing thatsince I was a kid because myinitials are a and z. And I juststarted noticing how manybusinesses and signs I wouldpass used ‘A to Z.’ It’s ironic thatit got drawn into my art makingprocess. It wasn’t a conceptual, itwas out practical necessity."— Andrea Zittel
  • 55. Andrea Zittel, “A-Z Living Unit II,” front view, 1994. Steel, wood, metal, mattress, glass,mirror, lighting fixture, oven, range, velvet upholstery, utensils, sauce pans, bowls, towel,hair brush, pillow, and clock; open: 57 x 84 x 82 inches, closed: 36 3/4 x 84 x 38 inches.Courtesy Andrea Rosen Gallery, New York. "When I first started doing furniture or whatlater became the Living Units, I didnt really consider it part of my artwork. It was simply asolution for these circumstances that I had to live in.“ — Andrea Zittel
  • 56. Andrea Zittel, “A-Z Living Unit II,” rear view,1994. Steel, wood, metal, mattress, glass,mirror, lighting fixture, oven, range, velvet upholstery, utensils, sauce pans, bowls, towel,hair brush, pillow, and clock; open: 57 x 84 x 82 inches, closed: 36 3/4 x 84 x 38 inchesCourtesy Andrea Rosen Gallery, New York. "All of my ideas, theyre sort of humorous, buttheyre also a little dark at the same time. Its like I have this fantasy of being completelyautonomous and independent and at peace, not having any of the day to day problems,but then theres also this sense of isolation that comes along with it.“ — Andrea Zittel
  • 57. Andrea Zittel, “A-Z Travel Trailer Unit Customized by Andrea Zittel” 1995Steel, wood, glass, carpet, aluminum, and various objects, 93 x 93 x 192 inches. SanFrancisco Museum of Modern Art, Accession Committee Fund. Courtesy the Artist."It’s important too that I’m a small identity or a small entity trying to function, managing to pulloff these large-scale projects. Managing to do things that people usually think that you haveto be an expert to do or an architect, like to make a trailer or to a 44-ton concrete island. Ilike this aspect that I’m sort of small, but I create the visual appearance of something large…and how it takes only a few to create this whole structure."— Andrea Zittel
  • 58. Andrea Zittel, “A-Z Bathroom” 1997The bathroom cabinets are divided intofour categories: Addition, Subtraction,Correction, and Pathology. Photo by Orcutt& Van Der Putten. Courtesy the ArtistThe Artist’s words:"Theres a continual theme in my life and inmy work. Its about taking something thatseems like its one way and flipping it overso it becomes the other. So I like to takethings that are maybe limitations in my lifeand try to somehow recontextualize them,glamorize them, make them more interest-ing, and vice versa. So I took my simpleliving situation and used this certainaesthetic code of modern design, andmade it, in my mind, very glamorous."— Andrea Zittel
  • 59. Andrea Zittel, "Various A-Z Six Month Seasonal Uniforms“ 1992-1995Various fabrics, leather straps, and suspenders; dimensions variable. Installed atDiechtorhallen, Hamburg, Germany Photo by Jens Rathman. Courtesy the Artist. "I’vebeen doing this uniform project since 1991. It started because I had an office job and I wassupposed to wear something respectable to work. But I didn’t have that much money andso I was thinking about how most of the time we can afford one fabulous outfit that youreally love to wear. But there’s some sort of social stigma against wearing the same thingtwo days in a row. So I decided that, in my case, variety seemed more oppressive orrestrictive than continuity. So for each season I’ll make one garment. That’s my fantasygarment or my favorite thing that I can imagine at that period in time, and then Ill wear itevery day for for six months.“ — Andrea Zittel
  • 60. Andrea Zittel, “A-Z Prototype for Pocket Property,” floating off the coast ofDenmark 1999. Concrete, steel, wood, dirt, and vegetation, approximately 23 x 54 feetCourtesy the Artist. "Its like a suburbia floating out in the ocean, so youre completely alone, yourecompletely autonomous, but you have also this sense of community within that. Obviouslyno one knows how to make something like this, so weve just been trying to figure it out. Ivebeen reading a lot of books on houseboat construction. With the first one that we made, Iactually insisted that it should be made out of concrete, which was probably a mistake. ButI had this idea that concrete was extremely literal. Concretes like rock or earth. “— Andrea Zittel
  • 61. Please Note: the rest of the slides in Powerpoint Two are allfrom Book 2 of Art: 21. (They are also part of Exam Two.) Art 3101 Dr. David Ludley
  • 62. Kara Walker, "Slavery! Slavery! presenting a GRAND and LIFELIKE Panoramic Journey into PicturesqueSouthern Slavery or "Life at Ol Virginnys Hole (sketches from Plantation Life)" See the Peculiar Institu-tions as never before! All cut from black paper by the able hand of Kara Elizabeth Walker, an Emanci-pated Negress and leader in her Cause“ 1997 See Further Details on next Powerpoint Slide:
  • 63. Kara Walker, Slavery! Slavery! (Continued)• Installation view, “no place (like home),” at the Walker Art Center, Minneapolis, Minnesota, 1997 Cut paper and adhesive on wall, 12 x 85 feet Collection of Eileen and Peter Norton, Sanata Monica, California Photo by Dan Dennehy for the Wal Courtesy Sikkema Jenkins & Co., New York
  • 64. Kara Walker, “No mere words can Adequately reflect the Remorse this Negress feels athaving been Cast into such a lowly state by her former Masters and so it is witha Humble heart that she brings about their physical Ruin and earthly Demise”1999 Details and explanation follow on next Powerpoint slide:
  • 65. Installation view at the California College of Arts and Crafts, Oakland, California Cut paper and adhesive on painted wall, 10 x 65 feet Collection of the San Francisco Museum of Modern Art, San Francisco, California Courtesy Sikkema Jenkins & Co., New York“One thing that got me interested in working with silhouettes, but then working on the large scale, had to do with two sorts of longings. One was to make history painting in the grand tradition. I love history paintings. I didn’t realize I loved them for a long time. I thought that they were ridiculous in their pompous gesture. But the more I started to examine my own relationship with history, my own attempts to position myself in my historical moment, the more love I had for this artistic, painterly conceit, which is to make a painting a stage, and to think of your characters, your portraits, ascharacters on that stage. And to give them this moment, to freeze-frame a moment that is full of pain and blood and guts and drama and glory.”
  • 66. Kara Walker, “Untitled (Hunting Scenes)” 2001.Cut paper and adhesive on wallLeft panel: 98 x 68 inches. Right panel: 103 x 63 inchesCollection of Centro Nazionale per le Arti Contemporanea, Rome, ItalyCourtesy Sikkema Jenkins & Co., New York“I was looking at racist paraphernalia, iconography, and then at these accurate versions of middle-classAmericans. I began to associate the silhouette itself, the cutting, with a form of blackface minstrelsy. Here wehave these mainly white sitters or a few slaves who were documented in silhouette—but for the most part whitesitters whom I identify as middle class because upper class would require a full-fledged oil portrait and that’swhat I had already ruled out for myself…’No oil painting here, not going to ape the master that way.’”— Kara Walker
  • 67. Kara Walker, “Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)”2002. Installation view at theSolomon R. Guggenheim Museum, New York. Projection, cut paper and adhesive on wall, 12 x 74 1/2 feetCollection of the Solomon R. Guggenheim Museum, New York. Photo by Solomon R. Guggenheim Museum, NewYork. Courtesy Sikkema Jenkins & Co., New York. “’Insurrection!’ The idea at the outset was an image of a slaverevolt in the antebellum south where the house slaves got after their master with their utensils of everyday life, andreally it started with a sketch of a series of slaves disemboweling a master with a soup ladle. My reference, in mymind, was the surgical theatre paintings of Thomas Eakins and others.” — Kara Walker
  • 68. Kara Walker, "Mistress Demanded a Swift and Dramatic Empathetic Reaction Which We Obliged Her"2000. Projection, cut paper and adhesive on wall, 12 x 17 feet. Collection of Whitney Museum of American Art,New York. Courtesy Sikkema Jenkins & Co., New York"One of the things thats happened here with the work that Ive done is that because it mimics narrative, andnarrative is a kind of given when it comes to work produced by black women in this country, theres almost anexpectation of something cohesive…a kind of Color Purple scenario where things resolve in a certain way. Afemale heroine actualizes through a process of self-discovery and historical discovery and comes out fromunder her oppressors and maybe doesnt become a hero but is a hero for herself. And nothing ever comes ofthat in the pieces that Im making."— Kara Walker
  • 69. Kiki Smith, “Rapture” 2001Bronze, 67 1/4 x 62 x 26 1/2 inchesEdition of 3.Photo by Ellen Page WilsonCourtesy PaceWildenstein, New York“It’s a resurrection/birth story; ‘Little RedRiding Hood’ is a kind of resurrection/birth myth. And then I thought it was likeVenus on the half shell or like the Virginon the moon. It’s the same form—alarge horizontal form and a verticalcoming out of it.”— Kiki Smith
  • 70. Kiki Smith, “Born” 2002. Bronze, 39 x 101 x 24 inches. Edition of 3. Photo by KerryRyan McFate. Courtesy PaceWildenstein, New York“I made ‘Born,’ a Genevieve being born of a deer. And I also have no idea where thatcame from. You can say that it relates to different mythological stories or something.Sometimes I’m making things and people will say, ‘Oh, that’s Diana; oh, that’s Daphne.’But I don’t know. It just pops into my head.” — Kiki Smith
  • 71. Kiki Smith, “Lying withthe Wolf” 2001Ink and pencil on paper,72 1/4 x 88 inches. Photoby Kerry Ryan McFateCourtesy Pace-Wildenstein, New York“In the Louvre I saw apicture of Genevievesitting with the wolvesand the lambs…I hadstopped making imagesof people for a couple ofyears; I just wanted tomake animals. But then Isaw that picture, and Ithought, ‘It’s really impor-tant to put them alltogether.’ So I drew myfriend Genevieve as theGenevieve, and then Imade all these wolves (Ididn’t make lambs).”— Kiki Smith
  • 72. Kiki Smith, “King Kong” 2002Bronze, 20 x 21 x 8 inchesincluding base. Edition of 3Photo by Ellen Page WilsonCourtesy PaceWildenstein, NewYork“Last year I went to see Bill T.Jones evening of dance, and oneof his dances used a song aboutKing Kong. It was just about KingKong looking for the woman,getting the woman, and all histribulations. It was really sort ofmoving. But then I thought, KingKong and the woman are sort ofthe same size in real life. Ithought of making a life-sizesculpture, and then I thought thatwas too ambitious. But I madethe sculpture of King Kong andthe woman together.”— Kiki Smith
  • 73. Do-Ho Suh, “Public Figures”1998-1999. Installation view atMetrotech Center Commons,Brooklyn, New York.Fiberglass/resin, steel pipes,pipe fittings, 10 x 7 x 9 feet.Courtesy the artist andLehmann Maupin Gallery, NewYork“Let’s say if there’s one statueat the plaza of a hero whohelped or protected our country,there are hundreds ofthousands of individuals whohelped him and worked withhim, and there’s no recognitionfor them. So in my sculpture,‘Public Figures,’ I had aroundsix hundred small figures,twelve inches high, six differentshapes, both male and female,of different ethnicities.”— Do-Ho Suh
  • 74. Do-Ho Suh, “Doormat: Welcome (Amber)” 1998. Polyurethane rubber, 1 1/4 x 28 x19 inches. Edition of 5. Courtesy the artist and Lehmann Maupin Gallery, New York“What defines the individual versus individuals? For me it was just very natural to thinkabout the interpersonal space, the space between people. And that’s why this idea ofindividual and collective came in. I still think, for me, it’s an issue of space.”— Do-Ho Suh
  • 75. Do-Ho Suh, “Doormat: Welcome(Amber),” detail 0f the previousslide. 1998Polyurethane rubber, 1 1/4 x 28 x 19Inches. Edition of 5. Courtesy theartist and Lehmann Maupin Gallery,New York“I have to say that my work actuallystarted from my interest in the notionof space, particularly this notion ofpersonal space or individual space.And that’s actually the result ofcontemplation on the idea of howmuch space one person can carry.”— Do-Ho Suh
  • 76. Do-Ho Suh, High School Uni-Form, 1997, Fabric, plastic, stainless steel, casters, 54 by276 by 217 inches.“Sixty high-school uniforms together in one…It’s a jacket of a high-school uniform, all in black withgold buttons and a priest-like collar… It’s a funny thing. Koreans have this Nostalgia about theuniform [even though] we hated to wear the uniform…But we tried our Best to differentiate ouruniforms from one another…It’s the individual versus collectivity.” --Do-Ho Suh.
  • 77. Do-Ho Suh, “Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home” 1999. Silk, 149 x 240 x 240 inches. Installation view at the Seattle AsianArt Museum, Seattle, 2002. Collection of the Museum of Contemporary Art, Los AngelesPurchased with funds provided by an anonymous donor and a gift of the artistCourtesy the artist and Lehmann Maupin Gallery, New York“My Korean house project was about transporting space from one place to the other, a way of dealing with culturaldisplacement. I don’t really get homesick that much, but I’ve noticed that I have this longing for a particular spaceand just want to recreate it or bring it wherever I go. So the choice of material was fabric. I had to make somethinglight and transportable, something that you can fold and put in a suitcase and bring with me all the time. That’sactually what happened when I made ‘Seoul Home/L.A. Home.’” — Do-Ho Suh
  • 78. Do-Ho Suh, “Seoul Home/L.A. Home/NewYork Home/Baltimore Home/London Home/Seattle Home” 1999. Silk, 149 x 240 x 240Inches. Installation view at the KoreanCultural Center, Los Angeles, 1999. Collection of theMuseum of Contemporary Art, Los AngelesPurchased with funds provided by an anonymous donorand a gift of the artist. Courtesy the artist and LehmannMaupin Gallery, New York“I think that by measuring and scrutinizing andinvestigating everything possible you really consume thespace and it becomes part of you. Now you feel like it’s inyou and you feel comfortable. That’s why I did my firstsite-specific installations, and I did the same thing with myKorean house project. But once you take that piece downfrom its site and transport it and display it in a differentplace, the idea of site-specific becomes highly questionableand refutable. That’s what I was really interested inbecause I think this notion of home is something you canrepeat infinitely.”— Do-Ho Suh
  • 79. “SoDo-Ho Suh, “Some/One” 2001m Installation view at Korean Pavilion,eBiennale di Venezia, Venice, Italy Stainless steel military dog tags, nickel-plated/ copper sheets, steel structure, glass fiberO reinforced resin, rubber sheets. Figure: 81 xn126 inches diameter, overall dimensions.eCourtesy the artist and Lehmann Maupin Gallery, New York” “I wanted the viewer to have an experience with2these little dog tags, these thousands of dog tags. It symbolizes each individual’s identity…0these many dog tags create this one, larger-than0-life figure. It’s ambiguous whether you’re a part1of it or not. Whether you are the owner of this robe when you see your own image over there. So that’s why I had the mirror inside.”I — Do-Ho Suhnstalla
  • 80. “Some/One,” detail ofprevious slide. 2001Installation view at Korean Pavilion,Biennale di Venezia, Venice, Italy.Stainless steel military dog tags,nickel-plated copper sheets, steelstructure, glass fiber reinforced resin,rubber sheets. Figure: 81 x 126 inchesdiameter, overall dimensions. Courtesythe artist and Lehmann Maupin Gallery,New York“It looks like a kind of ancient Orientalarmor. The first sculpture was coveredwith three thousand military dog tags.From a distance the dog tags look likefish scales. The shape of that jacketwas not something that I invented. Iused the U.S. military jacket liner andjust put the dog tags on the top of it.So I used all contemporary materialsbut they ended up looking like ancientones.”— Do-Ho Suh
  • 81. Trenton Doyle Hancock,“Rememor with Membry” 2001Acrylic on canvas, 54 x 66 inchesCollection of the Whitney Museumof American Art, New YorkCourtesy James Cohan Gallery,New York and Dunn and BrownContemporary, Dallas“I like to play with language, word-play and puns, alliteration andonomatopoeia, poetic deviceswithin the work. Since the writingaspect of the work has become somuch more important, I see fit todraw upon all those elements toget things done.”— Trenton Doyle Hancock
  • 82. Trenton Doyle Hancock,“The Legend is in Trouble”2001, Mixed media on canvas,104 x 120 1/2 inchesCollection Kenneth Freed,Boston, MassachusettsCourtesy James CohanGallery, New York and Dunnand Brown Contemporary,Dallas“I had been able to see deathedging toward The Legend foralmost a year but waspowerless to stop it. Ultimately,The Legend succumbed due toinjuries sustained during anattack by a band of viciousVegan rebels. No amount ofwobbling could have stoppedthese guys. They wanted it toobad. I guess our last hopewould have been Torpedoboybut, by the time he got there,The Legend was leakingmoundmeat in about sixty-twoplaces.”— Trenton Doyle Hancock
  • 83. Trenton Doyle Hancock,“Painter and Loid Strugglefor Soul Control” 2001Mixed media on canvas, 103x 119 inchesCollection of Jack S. BlantonMuseum of Art, University ofTexas, Austin, TexasCourtesy James CohanGallery, New York and Dunnand Brown Contemporary,Dallas“I see each character as aseparate part of me. I canseparate one aspect of mybeing out and then put it infront of me and then look at it.And it’s kind of like all of thesethings are inside me at once,battling each other. And atcertain points one isdominant.”— Trenton Doyle Hancock
  • 84. Trenton Doyle Hancock, “Bye and Bye” 2002. Acrylic and mixed media on canvas, 84 x 132 inchesCollection of the Museum of Fine Arts, Houston, Texas. Courtesy James Cohan Gallery, New York and Dunn andBrown Contemporary, Dallas“The words ‘bye and bye’ are cut out of the piece because I just wanted another layer of information. It’s alwaysinteresting for me to extend painting a little bit further from myself than it has to be, to make it just a little harderthan it has to be. All of the letters cut out of this piece are glued back in different places, so you have this recessionof space and this built-up space. Then, when you come up to the painting you experience it on several differentlevels.” — Trenton Doyle Hancock
  • 85. Trenton Doyle Hancock,“Ferroneous & the Monk” 1999Mixed media on felt, 102 x 114 1/2Inches. Courtesy James CohanGallery, New York and Dunn andBrown Contemporary, Dallas“’Ferroneus & The Monk’ is what I calla dream flash. That’s how Moundsdream—in big colorful landscapesfilled with floating objects andsymbols. Mounds are rooted in theground. They can’t really move. So intheir dreams they’re very mobile.They can go anywhere. All over theplace!”— Trenton Doyle Hancock
  • 86. Trenton Doyle Hancock,“Sturdi of Loo”2002Mixed media on felt, 69 1/4 x 72 1/2Inches. Collection of Michael E.Thomas, Dallas, Texas. Courtesy JamesCohan Gallery, New York and Dunn andBrown Contemporary, Dallas“I wanted to do a body of work thatfocused on the garbage and pieces ofpaper and scraps of canvas I had lyingaround on my studio floor, and wherethose scraps could ultimately lead me.What they led to was a body of work thatat first glance seems disjointed—as ifeach element has nothing to do with thenext. But on further scrutiny, you realizethat it’s all interconnected.”— Trenton Doyle Hancock