2. 2 Documenting the Great American West manifest destiny: both the duty and the right of America to expand its dominance from coast to coast construction of the trans-continental railroad [1869] the transcendental aspect of the Western landscape, “America’s cathedral” documenting both God’s hand and man’s accomplishments Robert Hughes’ definition of “mechanical photography:” “…everything is to be depicted exactly as it is, and where all the parts are to be equally sharp and perfect”
5. 5 Timothy H. O'SullivanAmerican, negative July 4, 1863; print 1866Image: 7 x 8 11/16 in.
6. 6 Timothy O’Sullivan photographer for Clarence King’s Geological Exploration of the 40th Parallel the “hostile” nature of the landscape
7. 7 Desert Sand Hills near Sink of Carson, Nevada Timothy H. O'Sullivan American, Nevada, 1867Albumen print 8 3/16 x 11 7/16 in.
8. 8 Timothy O'SullivanHistoric Spanish Record of the Conquest, South Side of Inscription Rock, New Mexico, No. 3, 1873albumen print, 20.3 x 27.6 cm. (8 x 10 7/8 in.)
9. 9 Timothy O'SullivanRock Carved by Drifting Sand, below Fortification Rock, Arizona, 1871albumen print, 20.3 x 27.6 cm (8 x 10 7/8 in.)
10. 10 Timothy O'SullivanBlack Canyon, Colorado River, from Camp 8, Looking Above, 1871albumen print, 20.3 x 27.6 cm (8 x 10 7/8 in.)
16. 16 Cars coming out of shaft, Comstock Mine, Virginia City, Nev. By O'Sullivan, 1867-68.
17. 17 Miner working inside the Comstock Mine, Virginia City, Nev. Taken by O'Sullivan using the glare of burning magnesium for a flash of light, 1867--68.
21. 21 William Henry Jackson the classically beautiful West Old Faithful in Eruption: selling Yellowstone as the first national park documenting the building of the Union Pacific Railroad the business side: partnership with the Detroit Photographic Company to produce postcards
24. 24 William H. JacksonGrand Canyon of the Colorado, ca. 1880 albumen print, 53.7 x 42.8 cm (21 1/8 x 16 7/8 in.) William H. JacksonLower Falls of Yellowstone, ca 1892 albumen print, 54 x 42.5 cm (21 1/4 x 16 3/4 in.)
29. 29 Andrew J. Russell Champagne Photo, Photograph by A.J. RussellPhoto Source: Courtesy of the Oakland MuseumIn the event that united a continent, East and West shake hands at the laying of the last railat Promontory, Utah, May 10, 1869.
50. 50 Baltz, Lewis American (1945-) TITLE ON OBJECT: Foundation Construction, Many Warehouses, 2891 Kelvin, Irvine SERIES TITLE: "New Industrial Parks", 1974
51. 51 Minimalism Dan Flavin, the nominal three (to William of Ockham), 1963. Fluorescent light fixtures with daylight lamps, edition 2/3, height: 72 inches (183 cm); Overall dimensions variable. Robert Ryman, Classico IV, 1968. Acrylic on twelve sheets of handmade Classico paper mounted on foamcore, overall: approximately 91 x 89 1/2 inches.
52. 52 Minimalism/Don Judd Untitled, 1969. Copper, ten units, 9 x 40 x 31 inches each, with 9-inch intervals; 170 x 40 x 31 inches overall. Solomon R. Guggenheim Museum, Panza Collection.
53. 53 Baltz, Lewis American (1945-) TITLE ON OBJECT: West Wall, R-ohm Corporation, 16931 Milliken, Irvine SERIES TITLE: "New Industrial Parks", 1974
54. 54 Lewis BaltzPark City, interior no. 70, 1980Courtesy of Tina Luisotti Gallery
55. 55 Baltz, Lewis American (1945-) TITLE ON OBJECT: Tract House #23 PORTFOLIO TITLE: "The Tract Houses", 1971
56. 56 Barbara Bosworth Black Bear Hunter, Peace River, Alberta1994gelatin silver print11/16 x 15 1/2 in.
57. 57 John Ganis Texas Water Slide1987chromogenic development print13 x 18 13/16 in. (33 x 47.8 cm)
58. 58 Joe Deal View, Magic Mountain, Valencia, California1977gelatin silver print1/8 x 11 3/8 in. (28.3 x 28.9 cm)
59. 59 Karen Halverson Lake Powell, near Page, Arizona1987chromogenic development print11 1/2 x 22 9/16 in. (29.2 x 57.3 cm)
60. 60 Skeet McAuley Ventana Canyon, Tucson, Mountain Course, Third Green, 1991chromogenic development print28 x 84 in. (71.1 x 213.4 cm)
![2 Documenting the Great American West manifest destiny: both the duty and the right of America to expand its dominance from coast to coast construction of the trans-continental railroad [1869] the transcendental aspect of the Western landscape, “America’s cathedral” documenting both God’s hand and man’s accomplishments Robert Hughes’ definition of “mechanical photography:” “…everything is to be depicted exactly as it is, and where all the parts are to be equally sharp and perfect”](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)