Art 3101 Powerpoint Two: Art 3101 Powerpoint Two Powerpoint Presentation Two
Dr. David Ludley
Slide2: William Wegman, “On Set” 1994 Color Polaroid, 24 x 20 inches © 2005 William Wegman Courtesy the Artist
Slide3: William Wegman,
“Canon Aside,” diptych 2000 Color Polaroid, 24 x 20 inches Top image of vertical diptych © 2005 William Wegman Courtesy the Artist
Slide4: William Wegman, “Miss Mit” 1993 Color Polaroid, 24 x 20 inches © 2005 William Wegman Courtesy the Artist
Slide5: William Wegman,
“Stepmother” 1992 Color Polaroid, 24 x 20 inches © 2005 William Wegman Courtesy the Artist
Slide6: Bruce Nauman, “One Hun-
dred Live and Die” 1984 Neon tubing mounted on four
metal monoliths, 118 x
132 1/4 x 21 inches Collection Fukake Publishing
Co., Ltd., Naoshima
Contemporary Art Museum,
Kagawa, Japan Courtesy Sperone
Westwater, New York,
© Bruce Nauman/Artists
Rights Society (ARS), New
York. "I'm surprised when
the work appears beautiful,
and very pleased. And I think
work can be very good and
very successful without being
able to call it beautiful,
although I'm not clear about
that. The work is good when
it has a certain completeness,
and when it's got a certain
completeness, then it's
beautiful."— Bruce Nauman
Slide7: Bruce Nauman, “Violins
Violence Silence” 1981-1982 Neon tubing with clear glass
tubing suspension frame,
60 1/2 x 66 1/2 x 6 inches Oliver-Hoffmann Family
Collection, Chicago Courtesy Leo Castelli
Gallery, New York,
© Bruce Nauman/Artists
Rights Society (ARS),
New York
Slide8: Bruce Nauman,“Room with My Soul Left Out, Room That Does Not Care” 1984, Celotex, steel grate, yellow lights, 408 x 576 x 366 Flick Collection. Courtesy Sperone Westwater, New York, © Bruce
Nauman/Artists Rights Society (ARS), New York "[Living in New Mexico] lets me do the kinds of things outside that I couldn't 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 that's the place where you make yourself
insecure.“ — Bruce Nauman
Slide9: Bruce Nauman, “Vices and Virtues,” installation views, 1983-1988 Neon tubing and clear glass tubing, mounted on aluminum support grid, height 84
Inches.The Stuart Collection, University of California, San Diego. Purchase with funds
from the Staurt Foundation and the National Endowment for the Arts. Courtesy
Sperone Westwater, New York, © Bruce Nauman/Artists Rights Society (ARS),
New York
Slide10: Bruce Nauman, “Good Boy, Bad Boy,” details,1985. Two color video
monitors, 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 wasn't a specific duration...this thing can just repeat and repeat and repeat, and you
don't have to sit and watch the whole thing. You can watch for a while, leave and go have
lunch or come back in a week, and it's just going on. And I really liked that idea of the thing just
being there. The idea being there so that it became almost like an object that was there, that
you could go back and visit whenever you wanted to."— Bruce Nauman
Slide11:
Bruce Nauman,“Clown Torture,” installation view,1987 Four color video monitors, four speakers, four videotape players, two video
projectors, four videotapes (color, sound), dimensions variable. Courtesy Donald
Young Gallery, Chicago, © Bruce Nauman/Artists Rights Society (ARS), New
York
Slide12: Kerry James Marshall, "Better Homes Better Gardens“ 1994. Acrylic and
collage on unstretched canvas, 100 x 142 inches. Denver Art Museum, Special
Fund. Courtesy Jack Shainman Gallery, New York. "The subject matter seems
in some ways less dramatic than the kinds of subjects represented in traditional history painting. But
that's also a part of what the painting is about. It's about those figures being represented that way: the
relationship between this representation of figures and the absence of those kinds of representations
in that historical tradition of grand narrative history painting."— Kerry James Marshall
Slide13: Kerry James Marshall, "Many Mansions“ 1994. Acrylic and collage on unstretched
canvas, 114 x 135 inches. Art Institute of Chicago, Chicago, IL. Courtesy Jack Shainman
Gallery, New York. "The painting is built around what you could call a very classically
Renaissance, architectural, or geometric structure. The most obvious thing you can see is
this pyramidal, triangulated structure that the figures are fitted into...One of the reasons I
used that structure was because when I started out the artists and works that I really
admired—like Géricault's '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 work
in 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
Slide14: 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, KS
Courtesy Jack Shainman Gallery, New York. "The initial development of that
unequivocally black, emphatically black figure was so that I would use them as figures
that function rhetorically in the painting...And one of the things that I had been thinking
about when I started to develop that figure was the way in which the folk and folklore pf
blackness always seemed to carry a derogatory connotation...A part of what I was thinking
to 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
Slide15:
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'] is
not a kind of transparency, but it's a psychological invisibility. It's where the presence of
black people was often not wanted and denied in the American mindset. And so what I
set out to do was to develop a figure or a form that would represent that condition of
invisibility, where you had an incredible presence, but there was a way in which you
could sometimes be seen and not seen at the same time.“ — Kerry James Marshall
Slide16: Kerry James Marshall,
“RHYTHM MASTR,” prepara-
tory drawing,1999-2000.
Photocopy of ink drawing, and
design marker on paper, 17 x
11 inches. Courtesy the Artist "I thought what I would do with
this project would be to take a
form that is, in some ways,
already undervalued in America,
take a subject that's under-
represented, and try to develop a
comic strip with a set of
characters that had cultural
significance but also allowed for
a kind of imaginative play and
inspiration. What I hit on as a
subject was this idea that, for
black people, the set of super
heroes we come to know any-
thing about have a lot to do with
West African religious gods in a
sense."— Kerry James Marshall
Slide17:
Kerry James Marshall,
“Souvenir II” 1997 Acrylic, paper, collage, and
glitter on unstretched canvas,
108 x 120 inches. Addison
Gallery of American Art,
Phillips Academy, Andover,
Massachusetts. Courtesy
Jack Shainman Gallery,
New York. "I don't think that
simply because I am an
artist, or because anybody is
an artist, that people ought to
give their attention to the
things that we've made. In
some ways we have to earn
our audience's attention, and
one of the ways we earn our
audience's attention is to
make things that are
phenomenologically
fascinating." — Kerry James Marshall
Slide18: Kerry James Marshall, “Souvenir IV”1998. Acrylic, collage, and glitter on unstretched
canvas, 108 x 156 inches. Whitney Museum of American Art, New York. Purchase with
funds from the Painting and Sculpture Committee Photo by Tom Vand Eynde. Courtesy
Jack Shainman Gallery, New York. "The way I see beauty is as a state of being for a
thing that has a kind of fascination about it, or as a thing that presents a certain kind of
fascination to you as a viewer. It's certainly something that's captivating; it's something's
that's compelling. Beauty is a phenomenological experience, and a basic component of
it is intrigue."— Kerry James Marshall
Slide19:
Kerry James Marshall, "Mementos"1998. Installation at the Renaissance Society,
University of Chicago. Over-sized stamps and "Souvenir" series. Courtesy Jack Shainman
Gallery, New York. "I wouldn't say that I never think about beauty as an aesthetic issue.
But I certainly think it's a much more complicated issue then it's imagined to be. I think
sometimes when people think of beauty they think of prettiness as a sign of beauty, but it's
a lot more complicated and a lot deeper than that."— Kerry James Marshall
Slide20: Maya Lin, “Crater Series,” detail. 1997 11 beeswax sculptures, dimensions
variable, glass shelf 1 1/2 x 96 x 10 inches Courtesy Gagosian Gallery, New York "I think for me, my sculptures deal with
naturally occurring phenomena, and they're
embedded and very closely aligned with
geology and landscape and natural earth
formations." — Maya Lin
Slide21: Maya Lin, “Crater Series” 1997. 11 beeswax sculptures, dimensions variable, glass shelf
1 1/2 x 96 x 10 inches. Courtesy Gagosian Gallery, New York. "I have two sides: creativity
and the architecture. It's got ideas about framing the landscape, being ecologically and
environmentally sensitive, not that a lot of the artworks aren't using recycled materials and
about nature in another way. But formally, I liked that they're different, that I don't want my
architecture looking like my sculptures and I don't want the sculptures being at all
architectonic in their form.“ — Maya Lin
Slide22: Maya Lin, "Rock Field“. 1997 46 glass components,
dimensions variable Installation
at the South Eastern Center for
Contemporary Art, Winston-
Salem, North Carolina. Photo by
Jackson Smith. Courtesy the
Southeastern Center for
Contemporary Art and Gagosian
Gallery, New York. "I would say
that so much of my work deals
with the plastic medium of clay...
My childhood is the '60s, and the
notion of what plastic, fluid,
design shapes were beginning to
originate out of there, again,
plays into the back of your head.
But I think for me it was probably
my father's potting that I would
watch. That's something I really,
really played with as a child and
was probably more of an
influence." — Maya Lin
Slide23: Maya Lin,
"Vietnam Veterans Memorial" 1982 Black 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. Washington
D.C. Courtesy the National Park Service
Slide24:
Maya Lin, "Civil Rights
Memorial“ 1989 Black granite, water table: 11 feet
6 inches in diameter, water wall:
40 feet long x 10 feet high The Southern Poverty Law
Center, Montgomery, Alabama Photo by John O''Hagan Courtesy The Southern Poverty
Law Center.
Slide25:
Maya Lin, "Avalanche" 1997 Tempered glass, 10 x 19 x 21
Feet. Installation at the South
Eastern Center for
Contemporary Art, Winston-
Salem, North Carolina. Photo
by Jackson Smith. Courtesy
the Southeastern Center for
Contemporary Art and
Gagosian Gallery, New York "The mediums I use range
widely, from broken glass to
water to granite. And I think
formalistically, each time out
with these large scale works,
they can look very different.
But there are some very strong
underlying ideas that go
throughout the works. One of
them is time, one of them is an
idea about landscape and the
earth, or natural states or
phenomena." — Maya Lin
Slide26:
Maya Lin, "Avalanche,"
Detail of previous slide, 1997 Tempered glass, 10 x 19 x 21
Feet. Installation at the South
Eastern Center for
Contemporary Art, Winston-
Salem, North Carolina. Photo
by Jackson Smith. Courtesy the
Southeastern Center for
Contemporary Art and
Gagosian Gallery, New York "I think art is wonderful because
it's everything you've ever
known and everything you've
ever done, somehow
percolating up, working with
ideas that you might want to
explore. And then you can just
wake up one morning and
know what you want to do. The
hissing of the heat." — Maya Lin
Slide27: 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 for
an aerospace engineering building and I had no idea what I was going to do. My site could
have been in the building they were building or outside. And I just read up on aerospace and flight
for 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 to
turbulence studies, which led to fluid dynamics." — Maya Lin
Slide28:
Louise Bourgeois, “Cell (Eyes and
Mirrors)” 1989-1993 Marble, mirrors, steel and glass, 93 x 83 x
86 inches Collection Tate Gallery, London Photo by Peter Bellamy Courtesy Cheim & Read, New York
Slide29: Louise Bourgeois, “Femme Volage (Fickle Woman)” 1951 Painted wood, 72 x 17 1/2 x 13 inches Guggenheim Museum, New York Photo by Allan Fickelman Courtesy Cheim & Read, New York
Slide30:
Louise Bourgeois,
“Femme Volage
(Fickle Woman),”
Detail of previous
slide, 1951 Painted wood, 72 x
17 1/2 x 13 inches Guggenheim Museum,
New York Photo by Allan
Fickelman Courtesy Cheim & Read,
New York
Slide31:
Louise Bourgeois, “Spiral Woman” 1984, Bronze and slate disc; bronze: 11 1/2 x 3 1/2 x
4 1/2 inches, disc diameter: 1 x 34 3/4 inches Collection Elaine Dannheiser, New York Photo by Allan Fickelman Courtesy Cheim & Read, New York
Slide32:
Louise Bourgeois, “Spiral” 1994 Watercolor, ink, and color pencil on
paper, 13 1/4 x 9 1/2 inches Photo by Beth Phillips Courtesy the Artist
Slide33:
Louise Bourgeois, “The Nest” 1994, Steel, 101 x 189 x 158 inches Museum of Modern Art, San Francisco, CA Courtesy Louise Bourgeois archive
Slide34:
Louise Bourgeois, “One and Others” 1955. Painted wood, 18 1/4 x 20 x 16 3/4 inches Whitney Museum of American Art, New York Photo by Jeffrey Clements Courtesy Cheim & Read, New York
Slide35:
Louise Bourgeois, “Articulated Lair” 1986 Painted steel, rubber, and stool, 132 x 132 x 132 inches The Museum of Modern Art, New York Gift of Lily Auchincloss and of the artist in honor of Deborah Wye Photo by Peter Bellamy Courtesy Cheim & Read, New York
Slide36:
Barbara Kruger, “Untitled (When I hear the world
culture, I take out my checkbook)” 1985 Gelatin silver print 138 x 60 inches Collection of Eileen and Peter Norton, Santa Monica,
California Courtesy Mary Boone Gallery, New York
Slide37:
Barbara Kruger, “Untitled
(I shop, therefore I am)” 1987 Photographic silkscreen on
vinyl, 111 x 113 inches Courtesy Mary Boone Gallery,
New York
Slide38:
Barbara Kruger, “Untitled
(Your body is a
battleground)” 1990 Billboard, commissioned by
the Wexner Center for the
Arts, Columbus, Ohio, for its
“New Works for New Spaces:
Into the Nineties” exhibition Photo by Fredrik Marsh Courtesy Wexner Center for
the Arts, Columbus, Ohio
Slide39:
Michael Ray Charles
Michael Ray Charles’ paintings investigate stereotypes drawn from the history of American advertising, product packaging, billboards, and commercials. Charles draws comparisons between Sambo, Mammy, and minstrel images of an earlier era and contemporary portrayals of black youths, celebrities, and athletes—images he sees as a constant in the American subconscious.
The Artist’s Words: "I've heard a number of things, been called the
sellout, the 'Chris Rock' of the art world (I like
that one by the way). And people accuse me
and question my blackness—they accuse me
of making paintings that deal with these images
because 'white folks want to see these images'
And I'm saying to myself, 'Boy, I don't know,' in
that white folks wanted to see these images to
laugh at?“ — Michael Ray Charles What do YOU think?
Slide40:
Michael Ray Charles, “(Forever Free)
‘Servin with a smile’” 1994, Acrylic latex
and *copper penny on paper, 40 x 26 inches Private collection, Photo by Beth Phillips Courtesy Tony Shafrazi Gallery, New York
The Artist’s Words:
"I've seen some black folks refer to these
images as black folks. I've seen and heard
white folk refer to these images as black
folks. And it's really disturbing. They don't
say images, they don't say representations,
whether grotesque or accurate or
abstracted...That's troublesome because...
they're images that are constructed, they're
both black and white, conceived in a white
mind and believed in the black mind." — Michael Ray Charles
*SEE THE EXPLANATION OF THE
COPPER PENNY IN EACH OF HIS
WORKS IN THE BOOK.
Slide41: Michael Ray Charles, “(Forever
Free) Buy Black!” 1996. Acrylic latex, stain, and
copper penny on paper, 30 3/4 x
24 1/4 inches. Private collection Photo by Beth Phillips. Courtesy
Tony Shafrazi Gallery, New York The Artist’s Words:
"You've got to think of how these
images were used in American
culture...they were everywhere
and they were used to market
anything from oils to ink, from
food products to clothing...People
operate from an emotional place
when they see these images
because they think of the past as
being something that happened
and that the concepts don't linger.
But these concepts continue to
affect us in many ways, in modern
concepts of advertising as well as
in contemporary advertisements." — Michael Ray Charles
Slide42:
Michael Ray Charles, “Before Black (To
See or Not to See)” 1997, Acrylic latex,
stain, and copper penny on paper, 60 x
37 1/2 inches. Private collection. Photo by
Beth Phillips. Courtesy Tony Shafrazi Gallery,
New York.
The Artist’s words:
"Some black folks really see the
images and say, 'That's us, but at the same
time that's not us.' So they're caught right in
between it. Some white folks see the images
and smile and laugh, and some are really
concerned and disturbed. And some are
quite confused, just as confused as blacks
are..." — Michael Ray Charles
Slide43:
Michael Ray Charles, “After Black (To See
or Not to See)” 1997. Acrylic latex, stain,
and copper penny on paper, 60 x 36 inches Private collection. Photo by Beth Phillips Courtesy Tony Shafrazi Gallery, New York
The Artist’s words: "I think that these images are just as much
white as they are black. They've been
projected and internalized. I think people
have accepted them to be, you know,
representational, an accurate representation." — Michael Ray Charles
Slide44:
Michael Ray Charles, “(Liberty Brothers
Permanent Daily Circus) Blue Period” 1995 Acrylic latex, oil wash, stain, and copper penny
on paper, 60 1/2 x 36 1/2 inches Private collection. Photo by Beth Phillips Courtesy Tony Shafrazi Gallery, New York
The Artist’s Words: "One could think about notions of blackness and
how they're linked to entertainment, athleticism,
sports (which has become another form of
entertainment) but never intellectualism for the
most part. And if that is the case, it's very rare.
But for the most part, collectively, I would say
that blackness continues to hover around this
comfort zone of entertainment—providers of
entertainment." — Michael Ray Charles
Slide45:
Matthew Barney, “CREMASTER 1” 1995. Production still. Photo by Peter Strietmann,
© 1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New York The Artist’s words: "A lot of these angles—aside from the moving camera car are really about trying to
mimic broadcast sports angles in order to anchor the scene, to sort of normalize it
before it becomes abstracted, which is something we do often, and it happens a lot with
sports references that are made in all the projects.“ — Matthew Barney
Slide46:
Matthew Barney, “CREMASTER 1” 1995. Production still. Photo by Peter Strietmann, ©
1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New York The Artist’s words: "If there was a structure that was greater than the "CREMASTER"
structure, it would have to be something like UPS—something that's fleet oriented, that
would have air transport and a kind of local transport to really finish that line. You have a
kind of consistent color in the way that UPS is brown and the logo is gold."— Matthew Barney
Slide47: 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 the
story where biological systems are referred to or used as art direction in a certain way. I've
always thought of the project as a sort of sexually driven digestive system, that it was a
consumer and a producer of matter. And it is desire driven, rather than driven by hunger
or anything like that. It's a desire in the sense of a kind of sexual desire."— Matthew Barney
Slide48:
Matthew Barney,
“CREMASTER 2” 1999 Production still. Photo by Michael
James O’Brien, © 1999 Matthew
Barney. Courtesy Barbara
Gladstone Gallery, New York
The Artist’s words:
"The stories themselves are some-
what interchangeable. In a sense
they're kind of carriers. In other
words, "CREMASTER 2" could
have had a couple of other stories
other than Norman Mailer's "The
Executioner's Song" to carry it.
"The Executioner's Song" was its
carrier, in that the Rocky
Mountains were the real story." — Matthew Barney
Slide49:
Matthew Barney, “CREMASTER 4” 1994, Production still. Photo by Peter
Strietmann, © 1994 Matthew Barney Courtesy Barbara Gladstone Gallery,
New York
The Artist’s words: "I think a lot of the references I make to
American traditions—whether it's
athletics or a kind of car culture—I think
those are things that I've certainly grown
up with and understand. It makes those
things very available to me to use, and I
consider them as kinds of vessels...
they're used as carriers...the concept of
a vehicle draws a line between locations... — Matthew Barney
Slide50:
Matthew Barney, “CREMASTER 5” 1997, Production still. Photo by
Michael James O’Brien, © Matthew
Barney. Courtesy Barbara Gladstone
Gallery, New York
The Artist’s words: "The cremaster are a set of muscles
that control the height of the internal
reproductive system in the male. I
took that one as a title for a couple
reasons, primarily in that the story,
over the course of five chapters, has
to do with a kind of system whose
state is fluctuating, not necessarily
literally as a reproductive system, but
as a system whose identity is
changing." — Matthew Barney
Slide51: Matthew Barney,
“CREMASTER 5” 1997 Production still. Photo by Michael
James O’Brien, © Matthew Barney Courtesy Barbara Gladstone
Gallery, New York The Artist’s words:
"The five chapters of the story are
about an organism that is
changing, and the system that
changes that form alters from
chapter to chapter...It's essentially
about an imposed will onto the
state of the [cremaster] form,
sometimes in a very abstract
way, sometimes in a more literal,
biological way. But it's basically a
structural word. It's being used as
a way to tell the story, and not as
a way to define a biological system
at all." — Matthew Barney
Slide52:
Matthew Barney,
“CREMASTER 3” 2000 Production still. Photo by Chris
Winget, © 2000 Matthew Barney Courtesy Barbara Gladstone
Gallery, New York The Artist’s words:
"The story [of "CREMASTER 3"] has
two principals, the Architect and the
Mason's Apprentice...The Architect,
who's played by Richard Serra, is
shown sort of as himself in the
game, throwing Vaseline on the top
of "Level Five." And he's throwing
hot Vaseline in exactly the same
way that he threw hot lead in the
late '60s." — Matthew Barney
Slide53:
Andrea Zittel, “A-Z Administrative
Services,” exterior view, 1997 Williamsburg, Brooklyn, New York Courtesy the Artist
The Artist’s words: "A lot of times I’d have to contact
fabricators…and when I called
(especially when I was twenty and I
would call with my voice and my accent)
no one would help me with anything.
So I started using the title ‘A To Z
Administrative Services,’ almost as a
joke. And I made letterhead and
business cards and I’d call people up
and I’d ask them for information. And
they would automatically assume that I
was a secretary calling for a legitimate
company. Through the years it’s really
opened a lot of doors and it’s really
helped me to function." — Andrea Zittel
Slide54: Andrea Zittel, “A-Z
Administrative Services,”
exterior view, 1997 Williamsburg, Brooklyn, New
York. Courtesy the Artist The Artist’s words:
"All of my work is done under this
identity of ‘A To Z Administrative
Services.’ I’ve been doing that
since I was a kid because my
initials are 'a' and 'z'. And I just
started noticing how many
businesses and signs I would
pass used ‘A to Z.’ It’s ironic that
it got drawn into my art making
process. It wasn’t a conceptual, it
was out practical necessity." — Andrea Zittel
Slide55:
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 what
later became the 'Living Units,' I didn't really consider it part of my artwork. It was simply a
solution for these circumstances that I had to live in.“ — Andrea Zittel
Slide56:
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 inches Courtesy Andrea Rosen Gallery, New York. "All of my ideas, they're sort of humorous, but
they're also a little dark at the same time. It's like I have this fantasy of being completely
autonomous and independent and at peace, not having any of the day to day problems,
but then there's also this sense of isolation that comes along with it.“ — Andrea Zittel
Slide57: Andrea Zittel, “A-Z Travel Trailer Unit Customized by Andrea Zittel” 1995 Steel, wood, glass, carpet, aluminum, and various objects, 93 x 93 x 192 inches. San
Francisco 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 pull
off these large-scale projects. Managing to do things that people usually think that you have
to be an expert to do or an architect, like to make a trailer or to a 44-ton concrete island. I
like 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
Slide58:
Andrea Zittel, “A-Z Bathroom” 1997 The bathroom cabinets are divided into
four categories: Addition, Subtraction,
Correction, and Pathology. Photo by Orcutt
& Van Der Putten. Courtesy the Artist The Artist’s words:
"There's a continual theme in my life and in
my work. It's about taking something that
seems like it's one way and flipping it over
so it becomes the other. So I like to take
things that are maybe limitations in my life
and try to somehow recontextualize them,
glamorize them, make them more interest-
ing, and vice versa. So I took my simple
living situation and used this certain
aesthetic code of modern design, and
made it, in my mind, very glamorous." — Andrea Zittel
Slide59: Andrea Zittel, "Various A-Z Six Month Seasonal Uniforms“ 1992-1995 Various fabrics, leather straps, and suspenders; dimensions variable. Installed at
Diechtorhallen, Hamburg, Germany Photo by Jens Rathman. Courtesy the Artist. "I’ve
been doing this uniform project since 1991. It started because I had an office job and I was
supposed to wear something respectable to work. But I didn’t have that much money and
so I was thinking about how most of the time we can afford one fabulous outfit that you
really love to wear. But there’s some sort of social stigma against wearing the same thing
two days in a row. So I decided that, in my case, variety seemed more oppressive or
restrictive than continuity. So for each season I’ll make one garment. That’s my fantasy
garment or my favorite thing that I can imagine at that period in time, and then I'll wear it
every day for for six months.“ — Andrea Zittel
Slide60: Andrea Zittel, “A-Z Prototype for Pocket Property,” floating off the coast of
Denmark 1999. Concrete, steel, wood, dirt, and vegetation, approximately 23 x 54 feet
Courtesy the Artist. "It's like a suburbia floating out in the ocean, so you're completely alone, you're
completely autonomous, but you have also this sense of community within that. Obviously
no one knows how to make something like this, so we've just been trying to figure it out. I've
been reading a lot of books on houseboat construction. With the first one that we made, I
actually insisted that it should be made out of concrete, which was probably a mistake. But
I had this idea that concrete was extremely literal. Concrete's like rock or earth. “
— Andrea Zittel
Please Note: the rest of the slides in Powerpoint Two are all from Book 2 of Art: 21. (They are also part of Exam Two.) : Please Note: the rest of the slides in Powerpoint Two are all from Book 2 of Art: 21. (They are also part of Exam Two.)
Art 3101
Dr. David Ludley
Slide62: Kara Walker, "Slavery! Slavery! presenting a GRAND and LIFELIKE Panoramic Journey into Picturesque
Southern Slavery or "Life at 'Ol' Virginny's 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:
Kara Walker, Slavery! Slavery! (Continued): 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
Slide64: Kara Walker, “No mere words can Adequately reflect the Remorse this Negress feels at
having been Cast into such a lowly state by her former Masters and so it is with
a Humble heart that she brings about their physical Ruin and earthly Demise” 1999 Details and explanation follow on next Powerpoint slide:
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, as characters 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.” : 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, as characters 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.”
Slide66: Kara Walker, “Untitled (Hunting Scenes)” 2001.Cut paper and adhesive on wall Left panel: 98 x 68 inches. Right panel: 103 x 63 inches Collection of Centro Nazionale per le Arti Contemporanea, Rome, Italy
Courtesy Sikkema Jenkins & Co., New York “I was looking at racist paraphernalia, iconography, and then at these accurate versions of middle-class
Americans. I began to associate the silhouette itself, the cutting, with a form of blackface minstrelsy. Here we
have these mainly white sitters or a few slaves who were documented in silhouette—but for the most part white
sitters whom I identify as middle class because upper class would require a full-fledged oil portrait and that’s
what I had already ruled out for myself…’No oil painting here, not going to ape the master that way.’”
— Kara Walker
Slide67: Kara Walker, “Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)”2002. Installation view at the
Solomon R. Guggenheim Museum, New York. Projection, cut paper and adhesive on wall, 12 x 74 1/2 feet Collection of the Solomon R. Guggenheim Museum, New York. Photo by Solomon R. Guggenheim Museum, New
York. Courtesy Sikkema Jenkins & Co., New York. “’Insurrection!’ The idea at the outset was an image of a slave
revolt in the antebellum south where the house slaves got after their master with their utensils of everyday life, and
really it started with a sketch of a series of slaves disemboweling a master with a soup ladle. My reference, in my
mind, was the surgical theatre paintings of Thomas Eakins and others.” — Kara Walker
Slide68: 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 that's happened here with the work that I've done is that because it mimics narrative, and
narrative is a kind of given when it comes to work produced by black women in this country, there's almost an
expectation of something cohesive…a kind of 'Color Purple' scenario where things resolve in a certain way. A
female heroine actualizes through a process of self-discovery and historical discovery and comes out from
under her oppressors and maybe doesn't become a hero but is a hero for herself. And nothing ever comes of
that in the pieces that I'm making." — Kara Walker
Slide69: Kiki Smith, “Rapture” 2001 Bronze, 67 1/4 x 62 x 26 1/2 inches Edition of 3.Photo by Ellen Page Wilson Courtesy PaceWildenstein, New York “It’s a resurrection/birth story; ‘Little Red
Riding Hood’ is a kind of resurrection/
birth myth. And then I thought it was like
Venus on the half shell or like the Virgin
on the moon. It’s the same form—a
large horizontal form and a vertical
coming out of it.” — Kiki Smith
Slide70: Kiki Smith, “Born” 2002. Bronze, 39 x 101 x 24 inches. Edition of 3. Photo by Kerry
Ryan McFate. Courtesy PaceWildenstein, New York “I made ‘Born,’ a Genevieve being born of a deer. And I also have no idea where that
came 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
Slide71: Kiki Smith, “Lying with
the Wolf” 2001 Ink and pencil on paper,
72 1/4 x 88 inches. Photo
by Kerry Ryan McFate Courtesy Pace-
Wildenstein, New York “In the Louvre I saw a
picture of Genevieve
sitting with the wolves
and the lambs…I had
stopped making images
of people for a couple of
years; I just wanted to
make animals. But then I
saw that picture, and I
thought, ‘It’s really impor-
tant to put them all
together.’ So I drew my
friend Genevieve as the
Genevieve, and then I
made all these wolves (I
didn’t make lambs).” — Kiki Smith
Slide72: Kiki Smith, “King Kong” 2002 Bronze, 20 x 21 x 8 inches
including base. Edition of 3 Photo by Ellen Page Wilson Courtesy PaceWildenstein, New
York “Last year I went to see Bill T.
Jones evening of dance, and one
of his dances used a song about
King Kong. It was just about King
Kong looking for the woman,
getting the woman, and all his
tribulations. It was really sort of
moving. But then I thought, King
Kong and the woman are sort of
the same size in real life. I
thought of making a life-size
sculpture, and then I thought that
was too ambitious. But I made
the sculpture of King Kong and
the woman together.” — Kiki Smith
Slide73: Do-Ho Suh, “Public Figures” 1998-1999. Installation view at
Metrotech Center Commons,
Brooklyn, New York.
Fiberglass/resin, steel pipes,
pipe fittings, 10 x 7 x 9 feet.
Courtesy the artist and
Lehmann Maupin Gallery, New
York “Let’s say if there’s one statue
at the plaza of a hero who
helped or protected our country,
there are hundreds of
thousands of individuals who
helped him and worked with
him, and there’s no recognition
for them. So in my sculpture,
‘Public Figures,’ I had around
six hundred small figures,
twelve inches high, six different
shapes, both male and female,
of different ethnicities.” — Do-Ho Suh
Slide74: Do-Ho Suh, “Doormat: Welcome (Amber)” 1998. Polyurethane rubber, 1 1/4 x 28 x
19 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 think
about the interpersonal space, the space between people. And that’s why this idea of
individual and collective came in. I still think, for me, it’s an issue of space.” — Do-Ho Suh
Slide75: Do-Ho Suh, “Doormat: Welcome
(Amber),” detail 0f the previous
slide. 1998 Polyurethane rubber, 1 1/4 x 28 x 19
Inches. Edition of 5. Courtesy the
artist and Lehmann Maupin Gallery,
New York “I have to say that my work actually
started from my interest in the notion
of space, particularly this notion of
personal space or individual space.
And that’s actually the result of
contemplation on the idea of how
much space one person can carry.” — Do-Ho Suh
Slide76: Do-Ho Suh, High School Uni-Form, 1997, Fabric, plastic, stainless steel, casters, 54 by
276 by 217 inches.
“Sixty high-school uniforms together in one…It’s a jacket of a high-school uniform, all in black with
gold buttons and a priest-like collar… It’s a funny thing. Koreans have this Nostalgia about the
uniform [even though] we hated to wear the uniform…But we tried our Best to differentiate our
uniforms from one another…It’s the individual versus collectivity.” --Do-Ho Suh.
Slide77: 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 Asian
Art Museum, Seattle, 2002. Collection of the Museum of Contemporary Art, Los Angeles Purchased with funds provided by an anonymous donor and a gift of the artist Courtesy 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 cultural
displacement. I don’t really get homesick that much, but I’ve noticed that I have this longing for a particular space
and just want to recreate it or bring it wherever I go. So the choice of material was fabric. I had to make something
light and transportable, something that you can fold and put in a suitcase and bring with me all the time. That’s
actually what happened when I made ‘Seoul Home/L.A. Home.’” — Do-Ho Suh
Slide78: 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 Korean
Cultural Center, Los Angeles, 1999. Collection of the
Museum of Contemporary Art, Los Angeles Purchased with funds provided by an anonymous donor
and a gift of the artist. Courtesy the artist and Lehmann
Maupin Gallery, New York “I think that by measuring and scrutinizing and
investigating everything possible you really consume the
space and it becomes part of you. Now you feel like it’s in
you and you feel comfortable. That’s why I did my first
site-specific installations, and I did the same thing with my
Korean house project. But once you take that piece down
from its site and transport it and display it in a different
place, the idea of site-specific becomes highly questionable
and refutable. That’s what I was really interested in
because I think this notion of home is something you can
repeat infinitely.” — Do-Ho Suh
Slide79: “Some/One” 2001 Installation view at Korean Pavilion, Biennale di Venezia, Venice, Italy Stainless steel military dog tags, nickel-plated copper sheets, steel structure, glass fiber reinforced resin, rubber sheets Figure: 81 x 126 inches diameter, overall dimen Courtesy the artist and Lehmann Maupin Gallery, New York “I wanted the viewer to have an experience with these little dog tags, these thousands of dog tags. It symbolizes each individual’s identity…these many dog tags create this one, larger-than-life figure. It’s ambiguous whether you’re a part of 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.” — Do-Ho Suh Do-Ho Suh, “Some/One” 2001 Installation view at Korean Pavilion,
Biennale di Venezia, Venice, Italy Stainless steel military dog tags, nickel-plated
copper sheets, steel structure, glass fiber
reinforced resin, rubber sheets. Figure: 81 x
126 inches diameter, overall dimensions. Courtesy the artist and Lehmann Maupin
Gallery, New York “I wanted the viewer to have an experience with
these little dog tags, these thousands of dog
tags. It symbolizes each individual’s identity…
these many dog tags create this one, larger-than
-life figure. It’s ambiguous whether you’re a part
of 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.” — Do-Ho Suh
Slide80: “Some/One,” detail of
previous slide. 2001 Installation view at Korean Pavilion,
Biennale di Venezia, Venice, Italy.
Stainless steel military dog tags,
nickel-plated copper sheets, steel
structure, glass fiber reinforced resin,
rubber sheets. Figure: 81 x 126 inches
diameter, overall dimensions. Courtesy
the artist and Lehmann Maupin Gallery,
New York “It looks like a kind of ancient Oriental
armor. The first sculpture was covered
with three thousand military dog tags.
From a distance the dog tags look like
fish scales. The shape of that jacket
was not something that I invented. I
used the U.S. military jacket liner and
just put the dog tags on the top of it.
So I used all contemporary materials
but they ended up looking like ancient
ones.” — Do-Ho Suh
Slide81: Trenton Doyle Hancock,
“Rememor with Membry” 2001 Acrylic on canvas, 54 x 66 inches Collection of the Whitney Museum
of American Art, New York Courtesy James Cohan Gallery,
New York and Dunn and Brown
Contemporary, Dallas “I like to play with language, word-
play and puns, alliteration and
onomatopoeia, poetic devices
within the work. Since the writing
aspect of the work has become so
much more important, I see fit to
draw upon all those elements to
get things done.” — Trenton Doyle Hancock
Slide82: Trenton Doyle Hancock,
“The Legend is in Trouble” 2001, Mixed media on canvas,
104 x 120 1/2 inches Collection Kenneth Freed,
Boston, Massachusetts Courtesy James Cohan
Gallery, New York and Dunn
and Brown Contemporary,
Dallas “I had been able to see death
edging toward The Legend for
almost a year but was
powerless to stop it. Ultimately,
The Legend succumbed due to
injuries sustained during an
attack by a band of vicious
Vegan rebels. No amount of
wobbling could have stopped
these guys. They wanted it too
bad. I guess our last hope
would have been Torpedoboy
but, by the time he got there,
The Legend was leaking
moundmeat in about sixty-two
places.” — Trenton Doyle Hancock
Slide83: Trenton Doyle Hancock,
“Painter and Loid Struggle
for Soul Control” 2001 Mixed media on canvas, 103
x 119 inches Collection of Jack S. Blanton
Museum of Art, University of
Texas, Austin, Texas Courtesy James Cohan
Gallery, New York and Dunn
and Brown Contemporary,
Dallas “I see each character as a
separate part of me. I can
separate one aspect of my
being out and then put it in
front of me and then look at it.
And it’s kind of like all of these
things are inside me at once,
battling each other. And at
certain points one is
dominant.” — Trenton Doyle Hancock
Slide84: Trenton Doyle Hancock, “Bye and Bye” 2002. Acrylic and mixed media on canvas, 84 x 132 inches Collection of the Museum of Fine Arts, Houston, Texas. Courtesy James Cohan Gallery, New York and Dunn and
Brown Contemporary, Dallas “The words ‘bye and bye’ are cut out of the piece because I just wanted another layer of information. It’s always
interesting for me to extend painting a little bit further from myself than it has to be, to make it just a little harder
than it has to be. All of the letters cut out of this piece are glued back in different places, so you have this recession
of space and this built-up space. Then, when you come up to the painting you experience it on several different
levels.” — Trenton Doyle Hancock
Slide85: Trenton Doyle Hancock,
“Ferroneous & the Monk” 1999 Mixed media on felt, 102 x 114 1/2
Inches. Courtesy James Cohan
Gallery, New York and Dunn and
Brown Contemporary, Dallas “’Ferroneus & The Monk’ is what I call
a dream flash. That’s how Mounds
dream—in big colorful landscapes
filled with floating objects and
symbols. Mounds are rooted in the
ground. They can’t really move. So in
their dreams they’re very mobile.
They can go anywhere. All over the
place!” — Trenton Doyle Hancock
Slide86: Trenton Doyle Hancock,
“Sturdi of Loo”2002 Mixed media on felt, 69 1/4 x 72 1/2
Inches. Collection of Michael E.
Thomas, Dallas, Texas. Courtesy James
Cohan Gallery, New York and Dunn and
Brown Contemporary, Dallas “I wanted to do a body of work that
focused on the garbage and pieces of
paper and scraps of canvas I had lying
around on my studio floor, and where
those scraps could ultimately lead me.
What they led to was a body of work that
at first glance seems disjointed—as if
each element has nothing to do with the
next. But on further scrutiny, you realize
that it’s all interconnected.” — Trenton Doyle Hancock