"Here in Oslo"

With the Anders Breivik trial taking place now, this post of a story I wrote last year when I was in Oslo during the tragedy may be of interest.

Here in Oslo

As the plane descended into Oslo, I scanned the landscape, looking at where my Grandmother may have been born and her Mother certainly was. Grandma was why I came here. Unfortunately, I never learned too much about her past – not even where she was born. Her name was Clara Baggie Sundberg (She married a Swede) and her Mother was named Hannah.
Though I tried before my trip to trace her, all I could find was that she lived in Wisconsin before marrying Carl and moving to Minnesota. She had six children – three girls and three boys. One boy, my Mother’s twin died shortly after he was born, and Grandma’s youngest daughter died giving birth to my cousin. In those days, it was not unusual for women to die during child birth.
I remember her as a tall woman who stood quite majestically until old age incapacitated her. She had thin yellow hair she wove into a single long braid curled into place at the nape of her neck. Her “bun” as she referred to it was fastened with the kind of long, open hairpins that had a golden sheen. She had a somewhat large nose, and a nervous hand gesture – sometimes moving her thumb around and around her forefinger.


Our relationship began just after I was born a girl instead of a boy. My parents had a name ready for a male. When that proved inappropriate, they grabbed probably the most popular name of the time – Judy. But most little girls and some boys in my hometown had two names, like Sara Jane, Mary Lou, or Gary Lee. What to do. My Grandmother liking an actress named Kay Francis, suggested Kay, and so I became Judy Kay. She and a couple other members of my family always called me by the two names.
Grandma lived only about two and a half blocks from my parents and as soon as it was allowed I made many trips to her house. Sometimes my Mother would have me pick-up groceries for her like bread or sandwich meat from the little nearby grocery. I liked going to Grandma’s because she let me do things like set the table or wash the dishes. At home this wasn’t permitted for fear I’d break something. But there were other reasons I liked going there.
Across the street lived Jeffy, a reddish-brown Cocker Spaniel. Since I didn’t have pets at home, Jeffy became my buddy. Often he’d wander off through the wild fields behind his home coming back full of sticker burrs caught and tangled in his silky hair. For hours, he’d lay patiently while I pulled them out, one by one. Together, we created a little animal-human bond.
Grandma’s house was an ordinary wood-frame rectangular box set on end so that it seemed tall. It was certainly nothing special to behold, but the surrounding yard was a wonder. By the front door was a bleeding heart flowering plant that came up every year and through the front window you could see a huge fern set on a wooden stand. I still have that plant stand. Around to the left was a big Catalpa tree with clusters of white fragrant blossoms looking something like orchids. In the spring, their aroma would fill the air around. After the flowers, came long, brown bean-like pods that later I discovered gave the name “Indian Bean or Cigar Tree” to this somewhat exotic species of the trumpet vine family.
We never entered through the front door but always around the right side to what was for a child a remarkable backyard. The first thing one would see is a rectangular dirt mound where every year she planted nasturtiums with yellow, orange and red flowers. I understand now that the leaves are edible though I don’t remember eating any. Further in was an apple tree producing annual fruit.
But the piece de resistance was her “rock garden.” It was just that – one central and four subsidiary lozenge shaped mounds built up of crystalline rocks that sparkled in the light, putting on a dazzling display depending on one’s position and the time of day. Among the rocks were wild flowers and plants like green ferns, white lilies of the valley, purple phlox and violets. It was the sort of garden that a child could imagine fairies living in.
Behind this magic was a pen where hens and one rooster were kept and at the end, a coop where Grandma gathered fresh eggs from straw nests. Near holidays a duck or a turkey might appear for a short time.
Beside the rock garden was a bird bath made of cement ornamented with pottery shards fashioned by her son, my Uncle Revell. Both bees and birds came there. Another “bath” sat in front of a “regular” garden at the back of her yard, and there was another occupying a whole lot beyond the rock garden. Basically, Revell took care of these, planting lettuce, onions, carrots and flowers in the smaller and potatoes, tomatoes, cucumbers and corn in the larger. Sometimes for lunch, Grandma and I would go out and pick fresh lettuce for sandwiches she made of white bread, butter, sugar and the lettuce.
There was a trap door opening to stairs leading to a dirt cellar underneath her house where potatoes could be kept in a cool, moist atmosphere for most of the winter. We had a lot of fresh food in those days. The flavors of today’s “organics” cannot compare to “the real thing” grown back then.
It was also in the backyard that Clara and her two daughters – my Mother and aunt – stretched curtains on wooden frames hung from clothes lines. Inside her house on the wood-fed cooking stove and at the table they canned fruit and vegetables. These were as much social as work occasions.
Another fixture of her kitchen was an ice box – precursor of the refrigerator. The “ice man” came every few days, the back of his pick-up loaded with steaming blocks. Another kid who lived nearby and I would run out to meet him, and he’d slice off a chip for each of us. Sucking on the ice was a welcome treat on hot summer afternoons.
Off the kitchen was another room that I remembered as dark where Grandpa slept. I never got to know him well, because he died when I was five. Since we were born the same day, October 19, it would have been good to discover if we shared anything else, but his existence was set in shadows. After thirty years spent working in the local pottery (where his two sons worked as well), Grandpa became a gardener for a well-to-do family. He, too, was good at growing things. The local newspaper reported a couple times on his prize-winning dahlias at the annual flower show competition. On the downside, he liked to drink, sometimes staggering and collapsing in the backyard. My Mother said she and Grandma pulled him into the house lest “the neighbors see it.”
Curtains separated kitchen from living room, and at one time, Grandma had a cat named Buster who liked to jump and swing on them. An adjacent hallway housed a victrola and a wonderful big black and gold clock with decorative side columns. The victrola, an antique form of phonograph was a floor model, the needle arm and turn plate set on top along with a horn that folded under the cabinet cover. Underneath was storage for some old black 78s and a few rust colored, plastic 45s. Cranking a side handle set music in motion.
Decorating the walls of the house were framed pictures Grandma cut out of calendars and newspapers. One was of a lone wolf howling over a baby lamb - a tender scene of protection. Another pictured a small herd of wild horses with black and white ones in the foreground rearing up in fear of a shaft of lightning coming down from the right corner. The one I kept for years was a patriotic poster from World War II, picturing a cherry-lipped, smiling girl with red, white and blue triangular hat perched atop her blond curls
We were a lower middle class family who rarely went on vacations. Trips were limited to rides on another uncle’s boat up the Mississippi and car rides around the countryside. Grandma was always ready to go. She’d drop whatever she was doing when she got a call. The only hitch was that she had to notify everyone in the family and wait until they responded. Being impatient, I hated this as a kid. But she was the matriarch determined to keep her family together.

Since she lived at what was then the western edge of our small town fairly close to the train tracks, hobos and Indians came to her doorstep begging food - especially soup bones, and she accommodated them as best she could. Every time I arrived, she gave me a nickel, a stick of gum, something.
Specific Norwegian customs she preserved were fixing lutefisk every Christmas Eve and using the word “ufdah. For the uninitiated lutefisk is definitely an acquired taste, and to me as a kid, it smelled awful, looked horrible and tasted really bad. It’s a gelatinous concoction made from dried and salted whitefish soaked for days in water and lye before it is boiled and served with pork – for Grandma it was always spareribs.
Growing up, I left my small Midwestern hometown, pursued a career in art as historian/educator/curator, travelled a good bit of the world and settled in Manhattan where I lived with one son, plants and animals. So many years later, I tried to silently communicate with Clara and Hannah. Why had I made this trip? What was I looking for? Where and how would I find it? At this point I knew family was most important to her, that she lived close to nature, that forms of art and music graced her home and that generosity was a habit. I never knew Hannah, my great-grandmother. Only that Grandma, my Mother and my Aunt all claimed “she made bread that tasted like cake.”
***
The trip had originated benignly enough first with my son, his wife and her family in the ruggedly beautiful Connemara country of Ireland. Here my left knee gave way to the long term troubles I’d been having with it, so I saw a doctor who gave me anti-inflammatory pills, and I bought a cane. Using the latter was a necessary but embarrassing and humiliating experience for a person accustomed to years of fitness regimes. Leaving the family in Galway, I went on to London and its art museums. The ride back to London’s Heathrow was a highpoint due to an intelligent, well-informed and verbal taxi driver from Bangladesh. We talked all the way about social and political issues, as I wondered why this obviously knowledgeable man was driving for hire. When we arrived, I got out paying him, offering my hand to shake and telling him how much I enjoyed the conversation. He seemed taken aback. This was my first encounter with an array of interesting strangers.
At the Oslo airport, I was stunned to hear that the express train into the city was undergoing repairs. I would have to take a bus. Tugging my small bag toward the door, a red-faced gentleman caught up with me, and started asking questions. I realized he was hitting on me, but my noncommittal answers caused him to peel off into a bar. I was pleased, though, to have attracted someone.
Two more men helped me find the right bus, asking the driver to tell me where to get off. It was about a 45 minute trip ending near a cathedral. My hotel was on Mollengata Street, and the driver pointed in a direction. But for a stranger, that wasn’t enough. I asked repeatedly until finally a woman said, “Turn left at the yellow building on the corner.
Hotel Comfort Express immediately revealed itself as a preferred spot for travelers in their twenties to thirties, so the young man with gelled hair standing at what appeared an abbreviated podium that served as “check-in” looked at me with curiosity. Room 712 was clean and simple. I took necessities out of my bag and headed to tourist information. I was determined to see a little of Norway’s famed fjords. To my great relief, the attendant told me I could do an overnight or day trip thereby avoiding more lodging cost and luggage schlepping. Taking brochures to help me decide, I walked back to the hotel finding a small Pakastani-run shop to buy what turned out to be a tasteless ham and cheese Panini washed down with two beers bought from the fashionably punk-haired “concierge.”
Next morning, the first order was to head back to tourist info to book a trip. I had determined to take the overnight excursion on the country’s deepest, longest fjord, but I hadn’t decided on whether to leave the next day Friday or wait until Sunday. (Saturday was not possible.) With the clerk, I debated the pros and cons - mainly the weather forecasts for both dates which were the same – rain. Finally, she said, “Go tomorrow. The forecasters are often wrong.”
Satisfied with my prospects, I wandered off to find the street car to the Vigeland Sculpture Park recommended by a friend. A young mother from Ghana helped me choose the right car and stop. She had lived in Oslo for a couple decades, partly with her young son who was desperately curious about me and wanted to speak but couldn’t because he knew only Norwegian. When we three got off – she was taking the boy to play in the park – she thoughtfully pointed out where I could catch a car back.
The large, rolling-hilled park opened up grandly from a central path-axis. This way and all the others led to the centerpiece composed of Gustav Vigeland’s characteristic dramatically intertwined figurative sculptures. Visitors are drawn toward a fountain and totem-like column of twisting, interlaced bodies. Basking on large, surrounding, open areas were bathers enjoying a day of sun. Determinedly, I trudged up the long staircase to the fountain apex, taking photos along the way like everyone else.

Back in town I sought out the Opera House also on recommendation. What a spectacular building, with a series of sloping ramp-roofs that one can climb for views of the city and harbor. Interestingly this structure combines art forms – opera and dance inside with sculptural, participatory platforms outside where the viewer becomes a performer.

To catch the bus next morning, I got up at 4:30 a.m., showering in the little spare stall that frightened me some since there was nothing to steady my wobbly knee. Arriving early at the appointed stop alongside train tracks, I headed back inside the station, deserted except for a number of Black men sleeping on benches. It was apparently their nightly accommodation, and no one disturbed them.
The bus – again a substitute due to track repair - took us to a small, unattended station about an hour away. Now I was worried about catching the right train and finding the reserved seat in a specific car. I didn’t know the system here, so I tried hooking up with a young Asian girl who had a ticket in her hand that looked like mine. Turned out she had opted for the shorter day trip. A train pulled up. I pointed out the right car for her while frantically looking for mine. Finding it and on board the view from my seat was blocked by a window frame and curtain. As soon as we got underway, the young couple across for me – also with no view – jumped into the empty seat behind me.
What I could see of the scenery was beautiful. It was hilly and somewhat mountainous. Maybe this was what attracted Grandma’s family to the American spot they chose that was also dotted with imposing bluffs and bodies of water. After about an hour, we stopped to change to the famous Flam train - its route known for spectacular vistas. Seemed seats weren’t assigned in these cars, so I grabbed a nice window.
An Asian family joined me. The father was very friendly and outgoing, while his son and wife were less so. The boy had a new camera with the big, protruding, phallus-like lens signaling an expensive piece of equipment. The boy looked to be about fourteen - turned out he was on a short vacation before beginning intensive study for an exam. His father told me he and his wife had spent their honeymoon backpacking and camping in this rugged terrain. Recognizing him as an obviously intelligent and confident man who spoke excellent English, I asked him what he did. He responded that he was a criminal and civil lawyer in Hong Kong. Proudly, I told him my son was also an attorney which he in turn told a chagrinned son who was interested in science.
Surveying the passing countryside, the oddest aspect was the isolated house clinging to a mountainside seemingly shunning civilization. But these were not the shacks of poor or otherwise disenfranchised folks. As the Chinese pointed out the homes were big, modern and well cared for. How did they support themselves? He offered that Norway was rich in oil but how would these people have profited from it? Maybe these were “country homes.”
At one point the train halted on the overpass over a steep gorge with rushing waterfall. Though it was pouring rain, everyone got out. I did too, stepping carefully to take a couple pictures, and quickly retreating back toward the train. “No,” an older woman said to me. “Wait, it’s the Norwegian experience.” Just about then, music made its way through the downpour. Then a woman in a long crimson robe appeared on a rocky ledge and took a dramatic pose. She did this three times on as many craggy outcroppings, the music ceased and we all got back on board having witnessed the “experience.”
Afterward, looking out the window at yet another lone house stuck precariously on a mountainside, I suggested to the boy that maybe these were just stage sets that could be hastily put up when the tourist train came by and taken down afterward. He smiled, and then offered, “Maybe they have a computer and can just click to raise the walls.” We laughed at this. I told his father the story that his son and I had conjured. He was delighted and the boy smiled shyly and proudly. Now I was his best friend.

This train ride stopped along the interior end of the longest, deepest fjord where the boats gathered passengers. The location had drawn a little, conspicuously tourist-oriented village consisting of half dozen gift shops and at least that many restaurants. When I sat down with one of Norway’s long sausage sandwiches, the boy came grinning after me. He was obviously still pleased with what I told his Dad. He asked me what I was eating, declaring “I will get the same,” and ran off.
With nothing else to do in the rain, like everyone else there I shopped for a few presents. Finally I saw people lining up under umbrellas beside a boat, and I joined them in the downpour. Whole groups began to go in together, and the woman beside me pushed to be one of them but the ticket-taker wasn’t having it. He held her back behind me. The top deck looked ideal, but halfway up I could see it was already crowded, so I chose a window seat below.
After awhile, a couple took the two seats beside me. They were a fit, good-looking pair probably in their mid-to-late forties. She struck up a conversation asking where I was from, and then not believing I was American. Later I wished I’d asked why she so firmly rejected my origin. Instead we talked about her two daughters and her ambitions as a triathlon athlete beginning what promised to be an interesting chat.
About half hour or so into the trip, I suddenly became aware of two big TV screens set up in front. They showed a reporter standing on a city street and with a strip running below announcing an explosion in Oslo. I thought maybe it was a gas explosion, but pretty soon, the same strip said it was a bomb. That much Norwegian I could make out. The woman beside me translated that it was a “huge” explosion. Her daughter called on her cell to see if she and her husband were okay.
Then the screens showed the little yellow building that marked the turn onto my hotel street. At first I thought it must be another yellow structure, but the more it was shown and as cameras cruised down the little street, I realized it was my street. “Damn, the hotel must have been destroyed,” I thought. The woman tried to comfort me telling me the hotel was probably okay. Then she and her husband got off at one of the several stops the boat made. Later I regretted the interruption and not getting to know them better, but I had become frozen with anxiety. Now I was talking to Clara and Hannah big time. “Thank you for putting me on this boat instead of in the hotel street. But why this now while I’m here? What are you trying to tell me? I’m going to need your help getting back.”
It was hard to focus on our smooth glide down this largest fjord. Rain was heavy outside. Some young kids ventured out on the foredeck, bracing their bodies against the wind and water. It was a little like being in a submarine. The inward-turning atmosphere only contributed to my apprehension. The boat forged onward, stopping now and then and passing breathtaking vistas of mountains, waterfalls and the occasional house. The water was dark, not only because of the sky, but reflective of the very deep glacial gorge it filled.

After about an hour, the TV began to show an island. “The perpetrator must have escaped there, and they’re pursuing him,” I thought. The news switched back and forth to anxious looking reporters standing in front of streets filled with broken glass, police manning barricades, bloodied civilians hit by debris and this island that was named Utoya according to the caption.
Another woman moved into my seat bank. She was Italian – I could tell from my limited knowledge of the language she used talking with two other women in front of us. She seemed somewhat peeved when I got up to find the toilet, to get water, and as we seemed to approach our destination – a sandwich. It was close to 8 p.m., and I didn’t know where the night train back to Oslo would be or if I could get food anywhere.
At the dock, there were no trains or tracks in sight. I thought this was going to be simple and convenient. I started hobbling as fast as I could after passengers who seemed to be heading in one direction. They must be going to the train. Then I lost sight of them, so I started asking passersby. In about half an hour I found the station, but my train wouldn’t leave for another 2 hours. Inside most shops were closed except for one of Norway’s omnipresent 7-Elevens.
When I bought more water from the young clerk, I tried to get information on Oslo. To my surprise, he told me that a few people, maybe 8, had been killed by the explosion, but that another 80 had been shot by a lone gunman on the island of Utoya. “Something like that could never happen here in Bergen,” he said confidently. “Hey, I retorted, “It wasn’t supposed to happen in Oslo.”
Waiting on one of the station’s wooden benches, I tried to watch fellow passengers straggling in. The train track was listed, eventually a train appeared and a few workers started walking around it. “Oh oh,” I felt the urge to use a bathroom again, and not wanting to be jostled about in a small, smelly train compartment I looked around for one in the station. Following a sign, I went into a narrow hallway filled with four or five young people sitting on the floor in front of the WC. But the toilet doors were coin operated. Noticing my distress, one young fellow said, “Don’t worry. Use that one. It’s always open.” He was right, but I wondered why they chose this dank little corridor as their meeting place. Apparently they knew it well. Exiting, I thanked him again, to which he replied with not a little gallantry, “It was my pleasure.”
One thing I had already noticed in London and now Norway was the politeness of the people. It didn’t matter if it was a fellow traveler, a shop keeper or a bystander. They all reacted to my questions with, “Of course,” “Sure,” or “Absolutely.” It wasn’t like that in New York. I’d spent years defending the city when strangers remarked on its “rudeness,” but now I realized they were right. Plus I’d also noted the cleanliness of other cities in comparison to my adult hometown.
Finally, a barricade was removed and we could get on the train. Luck of the draw, my reserved seat would travel me backwards. I watched the opposite seats hoping I could exchange, but just before we left, three young people took them. They were a handsome trio, well dressed in what appeared to be the latest skiing garb. She was a pretty blond girl, the younger man was attracted to her and the slightly older man obviously enthralled the girl. The older one sat in the middle, and as the train raced through the darkness, she laid her head on his shoulder.
Blankets and blindfolds were provided, so I put it all on and tried to sleep. A couple hours into the trip, the trio’s leader jostled the other two awake. They gathered their things, the train stopped briefly seemingly in the middle of nowhere, and they got off.
Now was my chance. I eased over into her seat by the window. Not long after the woman beside me took my seat. Now we were all comfortable.
As usual, given the track repairs, the train stopped outside Oslo, and we all tramped onto buses. My fear was rising now, and as luck would have it, my bus had a bad transmission. It barely chugged up hills, as the other two buses shot past.
In Oslo at 6 a.m. and beside the train station once again, the city seemed empty. The rain had returned and was heavy, so I went inside. Near the doors, a few of us waited as the heavens opened. Soon I got antsy and set out in the rain. “Norway is crying,” I thought as I tried to manage umbrella and cane, and pleaded, “Clara and Hannah I need your help now.”
Approaching the corner with the little yellow building, I could see that it was barricaded and manned by the military. This guard like three more at subsequent barricades kept telling me to ask if I could pass at the next. Finally, I said, “I need medication that’s in my hotel,” a strategy I’d devised while waiting on the boat. I thought a woman my age, white hair with cane would be believed. The young man walked over to talk to his commander, and I went with him. “Get a taxi,” they said.
Turning around to empty streets, there were no cars, people or taxis. I started back toward the police when “voila,” one of Oslo’s black cabs came down the street. Hailing him with my cane, he stopped and I told him I wanted to go to Comfort Express Hotel. He drove east and then north as I thought he would until we came out at the block above the hotel. “The owner just arrived,” the cabbie told me. “That’s him by the car.” I have no idea how he knew this.
There was a wire fence, but no guards, so I slipped through at the end, walking up to the very tall man – many Norwegians, male and female are exceptionally tall. He was talking on his cell standing next to a big SUV.
“I was staying at your hotel. My things are in there, and I need medication.”
“Okay, I will have someone pack your things and bring them out for you.”
“Great.” I was relieved. Even though when traveling I always carried the necessities – passport, billfold, tickets – on my body, it was a comfort to get my other things. What’s more, after hours of waiting to see what would transpire, something finally was happening.
“What’s your room number?”
“712.”
He spoke to someone, and in minutes a young man came down. I forgot I had the key to my suitcase which I kept locked when not in residence. I handed him my key ring, and he presented me with three bags of vitamins and a bottle of water. Evidently, the owner had told him I needed medicine. Embarrassed at having my lie exposed, I said I didn’t need them immediately.
As we waited, I asked the owner about his hotel. Turned out though the front plate glass and some ornamental metal beams had been broken, the hotel was structurally intact. He told me that it had been recently opened and that this building was one of a chain he and his partner had begun opening early in the year. His idea he told me was to figure out “what tourists didn’t need.” They could then offer rooms at a lower price by cutting down on supplies and overhead. I told him I thought it was a “genius idea.” Maybe I overstated it in my anxiety, but I did believe people like me wouldn’t mind not having their towels and sheets changed every day.
The young guy came down with my suitcase, the owner loaded it into his car and took me straight to another hotel – actually a more expensive and full service one nearer the train station – where he must have secured arrangements for his now homeless hotel guests. Police would cordon off the entire area for several days.
At the reception desk the young clerk told me his cousin had “swam for his life” from Utoya. Because of the size of the city and the country, it quickly became clear that everyone knew someone or knew someone who knew someone involved in the tragedy. He gave me keys to what turned out to be a tiny room on the 11th floor and told me I could have the free breakfast in their dining room.
I rode the gleaming glass and brass elevator to my floor looking down at the huge dining area. At the top, my room was a small but comfortable garret. After taking a shower, I tried but wasn’t able to nap. Too much adrenaline flowing. So I went down to check the breakfast. They had everything: waffles you cooked yourself, sausages, eggs, fruit, yogurt, cereal, cheese, bread, etc. Knowing that my new quarters had a small refrigerator, I stocked up for dinner trying to hide cheese and bread in napkins. Nobody appeared to care one way or the other, so on other mornings, I grabbed more.
Restless, I walked out onto the street, got my bearings and headed up the main street called Karl Johans Gate. As I walked near the cathedral I saw a small cluster of people placing flowers off to the side of the entry.
I decided to head north and east to an area that housed little craft shops according to a tourist brochure. Maybe I could find gifts there. Like my Grandmother, I liked giving. So I set out, but soon lost my bearings. Everyone I asked seemed to tell me a different direction, so finally I started to backtrack. The rain started up again, and most every store was closed anyway. Back by the cathedral, the bed of flowers had grown to about a ten foot circle. A few people stood around, quiet, their heads bowed.
A drink seemed in order, so I started to try to find a bar not crowded with other tourists. There didn’t seem to be any liquor stores, and all the super markets were closed. Eventually, I happened on a bar around the corner from the train station that looked like it was frequented by a few locals. When the barmaid negotiated my card through her old machine, I ordered rum and coke – “a double.” Then I sat alone at a table and wrote a few postcards. This was a habit acquired from my Mother who when we took a rare short trip out of town, always wrote cards to three or four family members. This tradition I carried on writing to 25-30 people on every trip. Years before it was cheap to send a card - by this time it had gotten expensive – maybe a dollar plus per card. However, people seemed to enjoy being thought of, and I knew that I liked receiving cards from friend-travelers.
Afterward, I went back to the hotel and asked the receptionist if he knew of any place where I could buy wine or beer. Of course, he said the room mini-bar, and I protested the expense. Then he said supermarket and that there might be one open in the train station. Huh! I didn’t think of a market there. Searching the premises, I found the big one that was closed but wandering into a connected mall, there was another smaller store. They had beer!
Back in the room, BBC was all over the Oslo situation, but I switched back and forth among the British and local stations. Already I had learned with not a little relief that the perpetrator was white, not Black as a good part of the world might not only have expected but welcomed. Pictures were appearing now of a native Norwegian whose name was Anders Behring Breivik. “What a nice looking young man,” I thought first seeing this blond 32-year-old posed casually and fashionably in yellowish shirt and black sweater. Why would someone good-looking and apparently at least somewhat aware of the world around him want to wreck that much havoc? He looked like he could have been a model. Certainly, he did not appear to be crazed, hallucinatory, deranged or a reclusive misanthrope.
Typically, the media coverage repeated the footage chosen to attract attention: the photo of the killer, pictures of the island dotted with white sheets covering bodies, and views of Oslo streets filled with broken glass. Intermittently, there would be interviews with bloodied bystanders, island escapees and with police officials who seemed pretty savvy in holding many press conferences. If they spoke Norwegian, sometimes there would be captions, sometimes not. The emergent story was the same: A man had set an explosion in Oslo, then donning a police uniform he moved swiftly to the island of Utoya where a “youth camp” was being held and where he shot every kid he could find. He even aimed into piles of dead bodies in case someone was hiding beneath and at the kids who tried to swim away. Evident was his planning. He had stockpiled fertilizer at his farm in order to make explosives, he chose a public building hoping to kill the Prime Minister as well as others, and he put on a police uniform in order to deceive the young people.
Such carefully laid plans indicated a very strong focus which in Breivik’s case was political. He went after the Prime Minister because of his liberal position and after a likewise liberally oriented youth camp – an annual affair devoted to young people’s discussions of democracy and other issues. In particular, Breivik had ruminated about Muslim immigration to his country that had historically taken pride in its open, democratic policies. Though the Muslim immigrants made up only a small percentage of the population, they did constitute the biggest non-Norwegian segment. According to the police and his lawyer, Breivik, fueled by right-wing, conservative blogging in America thought he was “saving” his country. Technology that had helped create the “Arab spring” had here resulted in a deadly summer. The attorney added that he thought the prisoner was “insane.” Perhaps most shocking to Norwegians was the fact that “one of their own” had attacked the very institutions and convictions that identified and defined them as a nation.
Sunday, I resumed my museum tour by setting out for and reaching the Edvard Munch Museum. A modernist 1960s box-like structure next to a botanical garden and natural history museum – the setting seemed opposed to the quite tortured feeling of the art work. Though I always admired Munch, I was further fascinated by the range of his creativity in printmaking as well as painting. He had cut out parts of a wooden block in order to juxtapose colors and his application of paint – alternately thin and dry or thick and juicy – was at times careful and in other instances fast and loose. Mostly, he used cross-hatched or parallel strokes of the brush, and for certain images he seemed to slap paint on canvas with unbridled vigor and emotion.
Afterward, drained as usual from so much visual stimulation, I wandered over into the park and through greenhouses looking at tropical plants and flowers. At one point I asked a middle-aged, kind of scruffy-looking man who had a camera to use mine in taking a photo of me next to some plant life. Before he did, he said, “Everyday I photograph flowers.” “That’s great,” I responded thinking to myself, “Wow, what a wonderful way to spend a life.”
Wandering back to town and hungry, I stopped in a little 7-eleven and ordered one of the long sausages. I chose a mottled as opposed to a smooth skinned one. The clerk said, “Hamburger?” Aha, so it wasn’t sausage after all. But biting in, it certainly didn’t taste like beef – more like pork.
Monday, all the museums were closed. Though I assumed I wouldn’t be able to get in, I started up to the National Gallery, passing the ever increasing expanse of floral tributes by the cathedral, plus the burgeoned presence of media vans, tents and trucks. The museum was right off Karl Johans, and sure enough it was closed. So I wandered south and slightly west past Oslo University and toward City Hall. Along this route, there were many stores but most were still closed except for a few tourist places.
A sweater was a personal goal gift, and in one shop there was a red Scandinavian looking number for about $60. This was a much better price than any others I had seen – probably because it was cotton, not wool. Since I’d always avoided wool as too scratchy anyway, I bought it, plus several pairs of men’s socks with moose on them as gifts. I had noticed on my several bus rides that in Norway there were “Moose Crossings,” rather than “Deer Crossings,” so it seemed an appropriate souvenir-type present.
Beyond the large castle-like city hall was a little harbor. Having grown up near and always liking bodies of water – all those trips on the Mississippi - I walked along it passing some ancient-appearing walls in the process.
Back in the hub near the station, I bought a small rose plant. It was impossible to remain aloof from the overwhelming mood of connectivity. Trudging back to the cathedral through another bout of rain and around the quite large, gathered crowd, I slipped under the chain link fence that had become useless guarding a grassy lawn that was now a muddy plot. Setting my little pink flower at the edge of the floral sea punctuated with lit candles, teddy bears , photos, flags and messages, I stood back to view the solemn group as well as the myriad of media trucks and reporters toting gigantic cameras on their shoulders and thrusting microphones into people’s faces. You could hear the rain fall.

Back in the hotel, all the stations were focused on the arraignment of Breivik at court. Media had gathered from China, Dublin, London, America and elsewhere. There were views inside the courthouse of police and others standing around waiting. Finally, there appeared two plain, black vehicles led by one motorcycle in front, followed by one behind. It was hard for me to believe when it was announced that this was the cortege carrying the prisoner. In NYC, entire city blocks would have been “frozen,” there would have been helicopters churning up the sky, multiple armored vehicles and a whole cavalcade of heavily armed cops lining the streets, peering from atop of buildings and riding four or five abreast on cycles. Having witnessed many of these displays of strength, it was amazing to see this understated arrival.
That night, a “Vigil against Violence” was held in front of the government building I had walked by earlier. I watched on television as hundreds of thousands of people from all over the nation gathered in a show of solidarity for their shared beliefs in an open, democratic society. This was such a contrast to my experience in New York and America after 9/11. There were no angry outbursts, threats and vows to kill - no outcries against people of other religious, political or social persuasions. Instead, entertainers led the crowd in what were apparently well-known songs and politicians or officials spoke about unity and the proudly held values of Norwegian people. No, I don’t understand the language and there weren’t always sub-titles, but the mood of moral and spiritual unity was unmistakable.
Almost every person present in this sea of sadness carried a red or white rose, raising the flowers whenever something meaningful was said or sung. It was a moving sight that brought tears to my eyes thinking about all those young lives lost, the terror experienced by them and those who had survived and the families suffering unspeakable loss.


My last full day in Oslo, I went back to the now-open National Gallery. Though it contains a light smattering of historical and Modernist works as well as a good representation of Norwegian artists, this place mostly depends upon its own rich holdings of native son Munch’s paintings, including “Madonna,” “Puberty,” and “The Scream” (returned after its theft a couple years ago).
Desperate now for a gift for my son and daughter-in-law, I found an odd little salt and pepper shaker/grinder that seemed to me to epitomize the smoothly simple lines and pure colors of Scandinavian design. Sure enough, the clerk said it was conceived by a Norwegian design group. She went on to say that if I was interested in local concepts I should visit the Center for Norwegian Design a few blocks away. Turned out it was loaded with slick, curvilinear and unadorned objects, but in the end I went back for the $83 (!) salt and pepper.
Next I headed for the Contemporary Museum immediately identifiable by its Richard Serra sculpture in front. They had a show of installations that ran the gamut of that genre. One artist had made a piece he called “Bird in Space” – the title recalling sculpture by Constantin Brancusi. The installed version entailed the bird’s taped flight recorded from a camera attached to a pigeon. Another work called “The Wells” consisted of recorded views down into a well projected on the museum floor. These art works might seem inconsequential, even meaningless given the immediate disaster here and in light of a larger global accommodation of subterfuge and bigotry. Increasingly in my musings about American artistic modernism, “silly” was gaining credence as an appropriate word. On the other hand, perhaps such art absolutely reflected the social confusion, politically wrecked havoc and grand absurdity of the modern world at large.
After a glass of white wine in a bar near the train station, I returned to the hotel to pack and watch the beleaguered police hold yet another press conference. People are wondering why it took so long – over an hour – to get to Utoya, why there was no helicopter available to take them there, and why an overloaded police boat had to be aborted for a private boat. There were also questions about why Brevick hadn’t been under surveillance and whether or not he acted alone. Finally, one officer simply said, “You know we’re only human beings under these uniforms.” In fact, they were a small force with minimal equipment because no one ever thought a disaster of this magnitude could happen here.
My final morning, I had some coffee and then set out for the airport bus beside the train station. As I approached, I noticed a crowd of people in front. Someone told me, “They’ve evacuated the station because of a bomb scare.” Welcome to the 21st century.
As usual, the bus runs to a train station about half hour outside the city. There we’re supposed to catch a train, but there aren’t any due to the Oslo station bomb scare. So what now? Someone apparently in charge yells out that everyone will have to take taxis. This instruction appeared ludicrous in a little town where there seemed to be taxi service of 2-3 cars for the remaining 45 minute drive to the airport. Obediently, we lined up, standing for about twenty minutes, when another attendant yelled that buses were coming as a double-decker version drove up.
Choosing a seat beside a nice-looking Norwegian man preoccupied with his cell, I watched as authorities came on board and took a young Black man who apparently doesn’t have a ticket off the bus. “Oh no,” I thought, “I don’t have a ticket either.” But I am white. Told we’d buy them at the train station, I forgot about it when we were told to board taxis and then buses. As it turned out no one ever checked for tickets except for the Black kid who was thought to be suspicious-looking.
As we settled into the trip, my seating companion and I began conversing. Turns out he’s a manager for a relatively new inland fish farming company. He’s on his way to South America having just returned from the states where he says the Oslo incident was all over the papers. His daughter who was supposed to go to the Utoya camp had elected to go to Greece instead. Her father was at first perplexed and now relieved by her decision. Once again, everybody had a story and knew someone close to the havoc.
In the process of leaving, my Grandmother and her Mother were in my mind, and after telling this stranger that I had come to Norway because of them, I began to question him anxious that my trip hadn’t revealed enough information.
“What does “ufdah” mean? Do you still use this word?”
“Yes, it means like ‘oops.’”
“Do people still eat lutefisk here?
“Yes, of course, all the time. We have it on holidays.”
“My grandmother used to serve it on Christmas Eve with spareribs.”
“We don’t eat it so much at Christmas, but on other family occasions with probably pork roast.”
He added, ”We don’t open gifts and celebrate so much on Christmas Day, as we do Christmas Eve.”
Surprised, I said, “That’s what we did too. We always went to Grandma’s on Christmas Eve and opened our gifts. We never did it the next day.”
Then, I pondered out loud, “I wonder where she got the lutefisk.”
“She probably made it.”
“How stupid can I be,” I thought, “of course she made it.” To me it had seemed so strange, so exotic, that it had to have been imported from elsewhere.
Afterward, I wondered why I asked such mundane questions, when in fact I had learned more important things that didn’t have to do with a word or a food. I had observed a kinship with flowers and nature as well as an open and polite attitude toward foreigners. But most significantly, I had witnessed an indomitable spirit, a unity and a positive sense of human purpose.
Arriving at the airport, I wished my fellow bus passenger luck in catching his plane and wandered around trying to decide what to do for the next two hours. “Really, in the future you must force yourself to wait until nearer the takeoff time.” A young Black man with dreads had laid out two babies taking up as many benches. My sore knee was tired, so I walked up and he moved one child. His white wife came back bearing water. They both were vigilant over the soundly sleeping children.
Across from us, a couple walked up to sit on stools at one of the high dining tables for on-the-move travelers. She looked to be in her late twenties and him to be in his early forties. He was red-faced, anxious-looking and all over her. His hands caressed her back, her buttocks, her chest and breasts. He leaned in to kiss her. Through it all, she seemed reserved, holding back, barely tolerating his advances. When the mixed couple carried their kids off, her eyes followed the Black man. The boyfriend looked too in dismay. Obviously, the whites were bound for breakup - he was much too desperate.
Shortly before the flight counter opened I bought water and a sandwich, thinking that there might not be any refreshments before the stop in Iceland. I was right.
As the plane lifted past the masses of pine trees, I invoked Clara and Hannah again. I knew they had been here in Oslo with me. “I did bring you back,” I told them. “My eyes have been your eyes, and you showed me who you were, who I am even through chaos.”

A relevant "Intervention" on Wall Street by Laura Anderson Barbata

Artist Laura Anderson Barbata, in collaboration with the Brooklyn Jumbies, presented “Intervention: Wall Street” on Friday, November 18, 2011. The performance took place on Wall Street in New York City’s Financial District at approximately 12 pm.
As part of the Moko Jumbies project, Anderson Barbata and the Brooklyn Jumbies towered over the Financial District in a performance that incorporated stilt dancers wearing 12ft high business suits, music and a collaborative spirit.

Here is the link: http://www.youtube.com/watch?v=84E877vGkpc&feature=g-upl

“Intervention: Wall Street” was conceived as a response to the dire economic crisis that became most evident in 2008 and which today afflicts not only Americans but has impacted 99% of the global population. Financial speculation and banking abuses by the largest and most powerful institutions on Wall Street have brought misery to individuals, institutions and to entire countries. In this public performance, Laura Anderson Barbata and the Brooklyn Jumbies brought to the Financial District of New York a world-wide practice to remind viewers of the global impact of this crisis and the urgent need to elevate and change the values and practices of the New York Financial Industry.

In Western Africa, Moko is a spirit who watches over his village, and due to his towering height, is able to foresee danger and evil. In Africa, the Moko Jumbie (stilt dancer) is traditionally called in to cleanse and ward off evil spirits that have brought with them disease and misfortune to a village. On the other side of the Atlantic, in Oaxaca, Mexico, the Zancudos (stilt dancers) perform once a year to call upon the power of their saints to receive protection, blessings, and miracles. In the same spirit of warding off evil and seeking a change in the mindset of those causing misfortune, Laura Anderson Barbata and the Brooklyn Jumbies intervened on Wall Street.

Short story, "Santa's Last Night"

Santa’s Last Night

Lutefisk has to be one of the most unappetizing foods – at least to a seven year old American. To me as a kid, it smelled badly – a sour aroma, looked ugly - a gelatinous mass and tasted awful - like eating something that should have been thrown out. Nonetheless it’s a traditional delicacy in Norway, and my Norwegian Grandmother always fixed it for Christmas Eve along with spareribs and some sort of sweet rolls. She did all this on a wooden cook stove before the family sat around the oil cloth covered table in her warm kitchen subtly permeated with smoke.
Throughout the meal, my year-younger cousin Clarence and I impatiently waited for Santa Claus to come to the door. Mysteriously, after this late afternoon dinner, our Dads disappeared. We didn’t pay much attention to their absence being riveted by the prospect of a gift from Santa, and we didn’t notice either when Clarence’s Mom - my Aunt Harriet, would become nervous and make calls on the telephone. She’d come away announcing that Santa was on his way, he’d come in fifteen-twenty minutes.
Finally, after what seemed an eternity, there’d be footsteps on the front stoop, and we’d hear sleigh bells and a “Ho, ho, ho.” In he’d stomp in his red suit and white beard, looking like we expected but frightening us nonetheless.
“Can you sing a song for Santa?” he’d say, and Clarence and I would shyly sing something, maybe Jingle Bells or part of Silent Night. Then out of his bag, he’d produce a couple presents for each of us, and with more “ho ho’s” and “Merry Christmases” he’d be gone.
One of these nights, I became suspicious. I don’t remember why but I went out to the car where Dad was waiting and told him I didn’t think that was really Santa. It sounded like Uncle Ole, Clarence’s Dad to me. Dad not wanting to lie confirmed my suspicions.
When my Mother got in the car and realized he had told me the truth, she was furious. “Why did you tell her? Now she’s going to tell Clarence.”
But I was quiet when we drove Harriet and Clarence home. As it happened I didn’t have to tell him.
When they turned on their kitchen light, there was Santa passed out on the floor. Imagine how Clarence must have felt seeing his drunken father in a Santa Claus suit sprawled out unconscious.

Then we were told that Harriet had sewn the costume herself and after Ole started playing Santa, other people in our little Midwestern town having found out, invited him to come to their houses as well. Heavyset, jovial and unabashed at playing the role, Ole eventually accumulated maybe half dozen stops. At each place they gave him a beer or two and/or a few shots of whiskey. As the driver or “reindeer” my Dad also got snockered. My Grandmother’s home was Santa and Rudolph’s last stop, so by that time they were feeling no pain.
That time many years ago was Santa’s last night when we left a tender moment behind. Writing this, I’m looking at a picture of Clarence, another cousin Tootie, Santa and myself standing in front of a pretty scraggly looking tree – not one of today’s carefully manicured versions - in the living room of my Grandma’s house. I’m not sure if that was the night or not, but maybe it was.

Judy Collischan
New York, 11/11/11

Live Links for "Made in the U.S.A."

The following is a list of live links for my book, "Made in the U.S.A." The e-text and hard copy is available from iUniverse.com and the hard copy is also available from Amazon.com

Suggested Viewing

Note: As often as possible, each entry includes artist's name, title of work, date of work, media, dimensions and collection. For the e-book, readers may click on links to view work. For the hard copy version, the reader may find illustrations by searching the web 1) under artist's name and title of work, 2) under artist's name, title of work and “images”, 3) at the museum or artist's web site or 4) under the artist's name plus the word “online” which will give you a list of museums holding the artist's work in their permanent collections. Please be aware that not all museums have their collections on line, and most do not image every piece. When appropriate links have been made to a video sharing website.

Chapter 1.

Alexandre Cabanel. The Birth of Venus. 1863. Oil on canvas, 52 x 90”.

Musee d’ Orsay, Paris

http://www.musee-orsay.fr/en/collections/works-in-focus/painting.html?no_cache=1&zoom=1&tx_damzoom_pi1[showUid]=4037

Gustav Courbet. The Spring. 1868. Oil on canvas, 50 ½” x 38 ¼”. Musee

d’ Orsay, Paris

http://www.musee-orsay.fr/en/collections/works-in-focus/painting.html?no_cache=1&zoom=1&tx_damzoom_pi1[showUid]=103238

Edouard Manet. The Luncheon on the Grass. Oil on canvas, 82 x 104 ½”.

Musee d’Orsay, Paris

http://www.musee-orsay.fr/en/collections/works-in-focus/painting.html?no_cache=1&zoom=1&tx_damzoom_pi1[showUid]=4003

Claude Monet. Grainstack (Sunset). 1891. Oil on canvas, 28 7/8 x 36 ½”.

Museum of Fine Art, Boston http://www.mfa.org/collections/search_art.asp?recview=true&id=32189&coll_keywords=&coll_accession=&coll_name=&coll_artist=Monet&coll_place=&coll_medium=&coll_culture=&coll_classification=Paintings&coll_credit=&coll_provenance=&coll_location=&coll_has_images=1&coll_on_view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=0&coll_start=11

Eadweard Muybridge. The Horse in Motion. 1878. Library of Congress,

Washington, D.C.

http://lcweb2.loc.gov/cgi-bin/query/i?pp/PPALL:@field%28NUMBER+3a08776%29%29

Hilaire-Germain Edgar Degas. A Ballet Seen from an Opera Box. c. 1884.

Pastel on paper, 25 3/4 x 19 7/8”. John G. Johnson Collection,

Philadelphia Museum of Art, Pennsylvania

http://www.philamuseum.org/collections/permanent/102809.html?mulR=10888

Pierre-Auguste Renoir. Nude in the Sunlight. 1876. Oil on canvas, 31 ¼

x 25”. Musee d'Orsay, Paris

http://klp.pl/admin-malarstwo/images/grafiki/5321.jpg

Mary Cassatt. The Child's Bath. 1893. Oil on canvas, 39 ½ x 26”. The Art

Institute of Chicago

http://www.artic.edu/artaccess/AA_Impressionist/pages/IMP_6_lg.shtml

Camille Pissarro. Place du Theatre Francais, Paris: Rain. 1898. Oil on

canvas, 29 x 36”. Minneapolis Institute of Arts

http://www.artsmia.org/viewer/detail.php?v=12&id=129

Auguste Rodin. Monument to Balzac. 1898 (cast 1954). Bronze, 9’3” x 48

1/4” x 41”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4978&page_number=13&template_id=1&sort_order=1

Antonio Canova. Pauline Bonaparte as Venus Victrix. 1805-08. Marble,

lifesize. Galleria Borghese, Rome.

http://www.galleriaborghese.it/borghese/en/epaolinab.htm

Georges Seurat. A Sunday Afternoon on the Island of La Grande Jatte.

1884-86. Oil on canvas, 6’9 1/2” x 10’1 ½”. The Art Institute of Chicago.

http://www.artic.edu/artaccess/AA_Impressionist/pages/IMP_7_lg.shtml

Katsushika Hokusai. South Wind, Clear Dawn (Red Fuji) from series

Thirty-six Views of Mount Fuji. 1830-31. Color woodblock print, 10 x 14

3/8”. The Los Angeles County Museum of Art

http://www.lacma.org/japaneseart/prints/prints.htm

Vincent Van Gogh. The Starry Night. 1889. Oil on canvas, 28 ¾ x 36 ¼”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?object_id=79802

Paul Gauguin. Spirit of the Dead Watching. 1892. Oil on burlap

mounted on canvas, 28 ½ x 36 3/8”. Albright-Knox Art Gallery, Buffalo,

New York

http://www.artchive.com/artchive/G/gauguin/spirit.jpg.html

Paul Cezanne. Mont Sainte-Victoire with Large Pine. c. 1882. Oil on canvas,

26 ¼ x 36 1/4”. Courtauld Institute of Art, London

http://www.artandarchitecture.org.uk/images/gallery/9865405b.html

Pierre Bonnard. The Bath. 1925. Oil on canvas, 34 x 47”. Tate Gallery,

London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=1311&searchid=10250&tabview=image

Edouard Vuillard. Two seamstresses in the Workroom. 1893. Oil on

millboard , 5 x 7 1/2”. National Galleries of Scotland, Edinburgh

http://www.nationalgalleries.org/index.php/collection/online_az/4:322/results/0/8936/

Maurice Denis. Landscape with Green Trees. 1893. Oil on canvas,

18 x 16 3/4”. Musee d'Orsay, Paris

http://www.musee-orsay.fr/en/collections/works-in-focus/painting.html?no_cache=1&zoom=1&tx_damzoom_pi1[showUid]=4069

Aubrey Beardsley. Salome with the Head of John the Baptist. 1893.

India ink and watercolor, 10 7/8 x 5 ¾”. Princeton University Library,

New Jersey

http://www.middernacht.be/udn/images/salome_aubrey_beardsley.jpg

Gustav Klimt. The Kiss. 1907-8. Oil and gold leaf on canvas, 71 x 71”.

Osterreichische Galerie Belvedere, Vienna, Austria

http://www.belvedere.at/jart/prj3/belvedere/main.jart?rel=en&reserve-mode=active&content-id=1169655781728&gid=1173178733677&imgid=1173178733681

Egon Schiele. Nude Self-Portrait. Black chalk, brush, watercolor, bodycolour, opaque white on brown packing paper. Albertina, Vienna

http://www.albertina.at/jart/prj3/albertina/main.jart?rel=en&content-id=1212669381738&reserve-mode=active&images_id=1215680345153

Henri Rousseau. The Sleeping Gypsy. 1897. Oil on canvas, 51 x 81”.

The Museum of Modern Art, New York.

http://www.moma.org/collection/object.php?object_id=80172

Edvard Munch. The Scream. 1893. Oil, tempera and pastel on cardboard, 36

x 29”. National Gallery, Oslo, Norway

http://www.ibiblio.org/wm/paint/auth/munch/munch.scream.jpg

James Ensor. Christ's Entry Into Brussels in 1889. 1888. Oil on canvas, 99 1/2 x 169 1/2”. J. Paul Getty Museum, Los Angeles

http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=932&handle=li

Medardo Rosso. Madame X. 1896. Wax on plaster, 12 x 8 x 9”. Museo

Ca’Pesaro, Venice, Italy

http://www.museiciviciveneziani.it/frame.asp?id=376&musid=1

Plinio Nomellini. Symphony of the Moon. 1899. Oil on

Museum of Modern Art, Venice, Italy

http://digitool.amherst.edu:8881/R/?func=dbin-jump-full&object_id=411809&local_base=GEN01

Louis Comfort Tiffany. Bella apartment window. c. 1880. Leaded glass, 24 ¼

x 29 1/2”. The Metropolitan Museum of Art

http://www.metmuseum.org/toah/hd/tiff/ho_2002.474.htm

Antoni Gaudi. Park Guell. 1900-14. Barcelona, Spain

http://www.greatbuildings.com/buildings/Park_Guell.html

Henri Matisse. Portrait of Madame Matisse. The green line. 1905. Oil and tempera on canvas, 15 7/8 x 12 7/8”. Statens Museum for Kunst, Copenhagen

http://www.smk.dk/smk.nsf/5a8a7f63d33b85d8c125697a007844f9/9e9b926c4a97d02ac1256b7900457c62!OpenDocument

Andre Derain. The Turning Road, L’Estaque. 1906. Oil on canvas,

51 x 76 ¾”. Museum of Fine Arts, Houston, Texas

http://www.mfah.org/artsearch.asp?par1=1&par2=Derain%20%20%20%20%20%20&par3=1&par4=26&par5=1&par6=1&par7=&lgc=4&eid=&currentPage=1

Maurice de Vlaminck. Reflection of Sunlight. 1905-6. Oil on canvas, 15

1/16 x 18”. The Metropolitan Museum of Art, New York

http://www.metmuseum.org/Works_of_Art/viewOnezoom.asp?dep=22&zoomFlag=0&viewmode=1&item=1975.1.220

Georges Braque. Houses at L'Estaque. 1908. Oil on canvas, 28 ¾ x 23 1/2”.

Kunstmuseum, Bern

http://www.abbeville.com/interiors.asp?ISBN=0789209020&CaptionNumber=08

Pablo Picasso. Les Demoiselles de Avignon. 1907. Oil on canvas, 96 x 92”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4609&page_number=24&template_id=1&sort_order=1

Pablo Picasso. Still Life with Chair Caning. 1911-12. Oil and pasted

paper simulating chair caning on canvas, oval, 10 5/8 x 13 4/4”.

http://www.artchive.com/artchive/P/picasso/chaircan.jpg.html

Fernand Leger. The City. 1919. Oil on canvas, 91” x 117 1/2”. The

Philadelphia Museum of Art

http://www.philamuseum.org/collections/permanent/53928.html?mulR=32062

Franz Marc. The Large Blue Horses. 1911. Oil on canvas, 41 1/2 x 71”.

Walker Art Center, Minneapolis.

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=265&image_num=1

Alexej von Jawlensky. Head of a Woman. c. 1912. Oil on composition

board, 21 x 19 1/8”. Allen Memorial Art Museum, Oberlin, Ohio

http://www.oberlin.edu/amam/Jawlensky_Head.htm

Wassily Kandinsky. Sketch for Composition II. 1910. Oil on canvas, 38 3/8

x 51 5/8”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Vasily%20Kandinsky&page=1&f=People&cr=3

Ernst Ludwig Kirchner. Five Tarts. 1914. Woodcut on blotting paper, 19 1/8 x

14 9/16”. National Gallery of Art, Washington D.C.

http://www.nga.gov/fcgi-bin/timage_f?object=65946&image=16315&c=

Erich Heckel. Portrait of a Man. 1919. Woodcut, 18 3/16 x 12 3/4”. Museum

of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2569&page_number=56&template_id=1&sort_order=1

Karl Schmidt-Rottluff. Pharisees. 1912. Oil on canvas, 29 7/8 x 40 1/2”.

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5242&page_number=5&template_id=1&sort_order=1

Emil Nolde. Dance Around the Golden Calf. 1910. Oil 7/on canvas, 35 x 42”.

Staatsgalerie moderner Kunst, Munich

http://www.artchive.com/artchive/N/nolde/golden_calf.jpg.html

Kathe Kollwitz. The Widow I from War, 1922-23, printed 1924. Woodcut, 14

5/8 x 9 5/16”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3201&page_number=8&template_id=1&sort_order=1

Paula Modersohn-Becker. Self-Portrait, Half-Figure with Amber Necklace. 1906. Oil on canvas, 24 x 19 1/2”. Kunstmuseum Museum, Basel http://80.74.155.18/eMuseumPlus?http://media-2.web.britannica.com/eb-media/36/38936-004-DA75102F.jpg+http://media-2.web.britannica.com/eb-media/36/38936-004-DA75102F.jpg=================================yg7service=direct/1/ResultDetailView/result.inline.list.t1.collection_list.$TspTitleImageLink.link&sp=13&sp=Sartist&sp=SfilterDefinition&sp=0&sp=6&sp=1&sp=SdetailView&sp=30&sp=Sdetail&sp=0&sp=T&sp=0&sp=SdetailList&sp=0&sp=F&sp=Scollection&sp=l1243

Georges Rouault. Two Nudes (The Sirens). 1906/08. Gouache on paper,

27 x 21 1/2”. Norton Simon Museum, Pasadena, California

http://www.nortonsimon.org/collections/browse_artist.php?name=Rouault%2C+Georges&resultnum=4

Chaim Soutine. Side of Beef. c. 1925. Oil on canvas, 55 ¼ x 42 3/8”.

Albright-Knox Art Gallery, Buffalo, New York

http://media-2.web.britannica.com/eb-media/36/38936-004-DA75102F.jpg

Amedeo Modigliani. Nude. 1917. Oil on canvas, 28 ¾ x 45 7/8”. Solomon R.

Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Amedeo%20Modigliani&page=1&f=People&cr=2

Umberto Boccioni. The City Rises. 1910. Oil on canvas, 6’6 1/2” x

9’10 1/2”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A624&page_number=4&template_id=1&sort_order=1

Umberto Boccioni. Unique Forms of Continuity in Space. 1913 (cast 1931).

Bronze, 43 7/8 x 34 7/8 x 15 ¾”. The Museum of Modern Art,

New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A624&page_number=15&template_id=1&sort_order=1

Gino Severini. The Dynamic Hieroglyphic of the Bal Tabarin. 1912.

Oil on canvas, with sequins, 63 5/8 x 61 ½”. The Museum of Modern

Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5360&page_number=1&template_id=1&sort_order=1

Natalia Goncharova. Peasants Dancing. 1910-11. Oil on canvas, 36 x 57”.

National Gallery of Australia, Canberra

http://www.nga.gov.au/Exhibition/Edwardians/Detail.cfm?IRN=156812&ViewID=2

Mikhail Larionov. Rayonist Composition: Domination of Red. 1912-13 (dated

on painting 1911). Oil on canvas, 20 ¾ x 28 1/2”. The Museum of Modern

Art, New York

http://www.moma.org/explore/collection/provenance/items/36.36.html

Alexandra Exter. The City at Night. c. 1919. State Russian Museum, St.

Petersburg

http://www.msi-mall.com/art/avantgarde/pictures/38.html

Alexander Rodchenko. Black on Black. 1918. Oil on canvas, 41 x 28”.

Museum Ludwig, Cologne

http://translate.google.com/translate?langpair=de|

Vladimir Tatlin. Corner Relief. 1915. Presumed destroyed

http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/301bg.jpg

Vladimir Tatlin. Monument to the IIIrd International. 1919. Wood

iron and glass. Never built; remnants of this maquette stored in the

Russian Museum, Leningrad

http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/302bg.jpg

Sergei Eisenstein. The Battleship Potemkin. 1925.

http://www.youtube.com/watch?v=euG1y0KtP_Q

Kasimir Malevich. Suprematist Composition: White on White. 1918. Oil

on canvas, 31 ¼ x 31 ¼”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?object_id=80385

Naum Gabo. Head of a Woman. c. 1917-20 (after a work of 1916). Celluloid

and metal, 24 ½ x 19 ¼ x 14”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2043&page_number=1&template_id=1&sort_order=1

Antoine Pevsner. Head of a Woman. c. 1923. Nitrocellulose plastic on plastic-

laminated wood panel 14 3/8 x 9 ¼ x 4 5/8”. Hirshhorn Museum and

Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=11126

Hans Arp. Untitled (Collage with Squares Arranged According to the Laws of

Chance). 1916-17. Torn-and-pasted paper and colored paper on colored

paper, 19 1/8 x 13 5/8”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A11&page_number=2&template_id=1&sort_order=1

Kurt Schwitters. Picture with Light Center. 1919. Cut-and-pasted colored

paper and printed paper, watercolor, oil and pencil on cardboard, 33 ¼ x

25 7/8”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5293&page_number=4&template_id=1&sort_order=1

Hannah Hoch. Cut with the Kitchen Knife through the Last Weimar

Beer–Belly Cultural Epoch in Germany. 1919-20. Photomontage and

collage with watercolor, 44 7/8 x 35 7/16”. Staatliche Museum, Berlin

http://arthistory.about.com/od/dada/ig/Dada-at-MoMA---Berlin/Cut-with-the-Kitchen-Knife.htm

Raoul Hausmann. The Spirit of Our Time. 1921. Mannequin's head, traveler's

collapsible cup, measuring devices, typesetting carriage and the No. 22,

height 12 3/4”. Musee National d'Art Moderne, Paris

http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/716.html

Francis Picabia. I See Again in Memory My Dear Udnie. 1914, possibly begun

1913. Oil on canvas, 98 ½ x 78 ¼”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4607&page_number=3&template_id=1&sort_order=1

Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912. Oil on

canvas, 57 7/8 x 35 1/8”. Philadelphia Museum of Art

http://www.philamuseum.org/collections/permanent/51449.html?mulR=30645

Marcel Duchamp. Fountain. 1950/replica of 1917 original). Porcelain urinal,

12 x 15 x 18”. Philadelphia Museum of Art

http://www.philamuseum.org/collections/permanent/92488.html?mulR=17789

Marcel Duchamp. The Bride Stripped Bare by Her Bachelors, Even

(The Large Glass). 1915-23. Oil, varnish, lead foil, lead wire and

dust on two glass panels, 119 ¼ x 69 ¼”. Philadelphia Museum of Art

http://www.philamuseum.org/collections/permanent/54149.html?mulR=30120

Piet Mondrian. Trees. c. 1912. Oil on canvas, 37 x 27 7/8”. Carnegie Museum

of Art, Pittsburgh

http://www.cmoa.org/collections/popup/ooobig.html

Piet Mondrian. Tableau 2. 1922. Oil on canvas, 21 7/8 x 21 1/8”. Solomon R.

Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Piet%20Mondrian&page=1&f=People&cr=8

Gerrit Rietveld. Red Blue Chair. c. 1923. Painted wood, 34 1/8 x 26 x 33,

seat height 13”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4922&page_number=2&template_id=1&sort_order=1

Walter Gropius. Bauhaus, Dessau, Germany. 1919-25

http://www.greatbuildings.com/cgi-bin/gbi.cgi/Bauhaus.html/cid_1136145405_3_32.html

Le Corbusier. Villa Savoye. 1928-29. Concrete and plastered unit masonry.

Poissy, France.

http://www.greatbuildings.com/cgi-bin/gbi.cgi/Villa_Savoye.html/cid_2507331.html

Mies van der Rohe. Tugendhat House. 1930. Steel frame. Brno,

Czechoslovakia.

http://www.greatbuildings.com/cgi-bin/gbi.cgi/Tugendhat_House.html/cid_1008416715_tug_ma_livingroom.html

Constantin Brancusi. Sleeping Muse I. 1909-10. Marble, 6 ¾ x 10 7/8 x 8 3/8”. Hirshhorn Museum and Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=4279

Constantin Brancusi. Endless Column, version 1. 1918. Oak, 80 x 9 7/8 x 9

5/8”. Museum of Modern Art (later constructed in larger scale at

Targui Jiu, Romania in 1938 to commemorate Romanian losses in

World War I.

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A738&page_number=6&template_id=1&sort_order=1

Hans Arp. Enak's Tears, Terrestrial Forms. 1916/17. Painted wood, 16 1/2 x

11 x 2”. Kunstmuseum, Basel

http://80.74.155.18/eMuseumPlus?service=direct/1/ResultDetailView/result.inline.list.t1.collection_list.$TspTitleImageLink.link&sp=13&sp=Sartist&sp=SfilterDefinition&sp=0&sp=0&sp=1&sp=SdetailView&sp=25&sp=Sdetail&sp=0&sp=T&sp=0&sp=SdetailList&sp=0&sp=F&sp=Scollection&sp=l1885

Giorgio de Chirico, Ariadne. 1913. Oil and graphite on canvas, 53 3/8 x 71”.

Metropolitan Museum of Art, New York

http://www.metmuseum.org/works_of_art/collection_database/modern_art/ariadne_giorgio_de_chirico/objectview_enlarge.aspx?page=4&sort=0&sortdir=asc&keyword=&fp=1&dd1=21&dd2=0&vw=0&collID=21&OID=210006955&vT=1

Carlo Carra, The Metaphysical Muse. 1917. Oil on canvas, 35 x 26”.

Pinacoteca di Brera, Milan

http://www.artreproductionsmasterpiece.com/carlo-carra-the-metaphysical-muse.html

Marc Chagall. Birthday. 1915. Oil on cardboard, 31 3/4 x 39 1/4”. The

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1055&page_number=7&template_id=1&sort_order=1

Yves Tanguy. Mama, Papa is Wounded! 1927. Oil on canvas, 36 ¼ x

28 ¾”. The Museum of Modern Art, New York.

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5804&page_number=5&template_id=1&sort_order=1

Rene Magritte. Man with a Newspaper. 1928. Oil on canvas, 45 1/2 x 32”.

Tate Gallery, London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=9158&searchid=11361&tabview=image

Max Ernst. Celebes. 1921. Oil on canvas, 49 x 42 1/2”. Tate Gallery, London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=4136&searchid=10929&tabview=image

Salvador Dali. The Persistence of Memory. 1931. Oil on canvas, 9 ½ x

13”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?object_id=79018

Salvador Dali. Soft Construction with Boiled Beans (Premonition of Civil War).

1936. Oil on canvas, 39 5/16 x 39 3/8” Philadelphia Museum of Art

http://www.philamuseum.org/collections/permanent/51315.html?mulR=17661

Luis Bunuel & Salvador Dali. Un Chien Andalou (An Andalusian Dog). 1924.

Available at vids.myspace.com

Meret Oppenheim. Object. 1936. Fur-covered cup, saucer and spoon,

cup 4 3/8” diameter, saucer 9 3/8” diameter, spoon 8” long, overall

height 2 7/8”. The Museum of Modern Art, New York

http://www.moma.org/collection/object.php?object_id=80997

Joan Miro. The Harlequin’s Carnival. 1924-25. Oil on canvas, 26 x 36 5/8”.

The Albright-Knox Art Gallery, Buffalo, New York

http://66.251.89.230/detail.php?type=related&kv=241&t=objects

Paul Klee. Red Balloon. 1922. Oil on chalk-primed muslin, mounted on

board, 11 ½ x 12 ¼”. The Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Karl%20Nierendorf%20Estate&page=1&f=Major%20Acquisition&cr=3

Paul Klee. The Golden Fish. 1925. Oil and watercolor on paper,

mounted on cardboard, 19 1/8 x 27”. Kunsthalle, Hamburg

http://www.dl.ket.org/webmuseum/wm/paint/auth/klee/golden-fish/klee.golden-fish.jpg

Alberto Giacometti. City Square. 1948. Bronze, 8 ½ x 25 3/8 x 17 1/4”.

The Museum of Modern Art, New York

http://www.moma.org/collection/object.php?object_id=81373

Henry Moore. Interior-Exterior Reclining Figure (model). 1951. Bronze,

height 14”. Hirshhorn Museum and Sculpure Garden. Smithsonian

Institution, Washington, D.C.

Barbara Hepworth. Figure: Churinga. 1952. Spanish mahogany, height

49”. Walker Art Center, Minneapolis

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=594&image_num=1

Alexander Calder. Lobster Trap and Fish Tail. 1939. Painted steel wire

and sheet aluminum, height c. 8 ½’, diameter c. 9 ½’. The Museum of

Modern Art, New York

http://www.moma.org/collection/browse_results.php?object_id=81621

Joseph Cornell. Untitled (Soap Bubble Set). 1936. Box construction, 15 3/4 x

14 ¼ x 5 7/16”. Wadsworth Atheneum, Hartford, Connecticut

http://www.artchive.com/artchive/C/cornell/soapbubl.jpg.html

Hans Hofmann. Fantasia. 1943. Oil, duco and casein on plywood, 36 5/8 x

51 1/2”. Berkeley Art Museum, University of California

http://www.bampfa.berkeley.edu/search/artsearchresults.php?Title=Fantasia&Artist=Hans+Hofmann&ObjectDate=&ItemClass=&OriginPlace=&Materials=

Piet Mondrian. Broadway Boogie-Woogie. 1942-43. Oil on canvas, 50 x 50”.

The Museum of Modern Art, New York

http://www.lichtensteiger.de/mondrian.html

Chapter 2.

Marsden Hartley. Portrait of a German Officer. 1914. Oil on canvas, 68

¼ x 41 3/8”. The Metropolitan Museum of Art, New York

http://www.metmuseum.org/toah/hd/stgl/ho_49.70.42.htm

Patrick Henry Bruce. Composition II. 1916. Oil on canvas, 38 ¼ x

51”. Yale University Art Gallery, New Haven, Connecticut

http://www.artchive.com/artchive/B/bruce/bruce_composition2.jpg.html

Isamu Noguchi. Kouros. 1944-45. Marble, 117x 42”. The Metropolitan

Museum of Art, New York

http://www.metmuseum.org/works_of_art/collection_database/modern_art/kouros_isamu_noguchi/objectview_enlarge.aspx?page=1&sort=0&sortdir=asc&keyword=&fp=1&dd1=21&dd2=0&vw=0&collID=21&OID=210008982&vT=1

Diego Rivera. Day of the Dead. 1924, mural. Ministry of Education, Mexico City.

http://www.fbuch.com/murals.htm

Jose Clemente Orozco. Dartmouth murals. 1932-34. Baker Library, Dartmouth

College, Hanover, New Hampshire

http://www.cs.dartmouth.edu/farid/orozco/

David Alfaro Siqueiros. The Revolution Against the Porfirian

Dictatorship. 1957-65. Acrylic on plywood. Chapultepec Castle, Mexico

City

http://www.abcgallery.com/S/siqueiros/siqueiros25.html

Frida Kahlo. Broken Column. 1944. Oil on masonite, 16 x 12”. Museo

Dolores Olmedo Patino, Mexico City

http://www.fbuch.com/fridaby.htm

Jacob Lawrence. Migration Series, Panel No. 10: They were very poor.

1940-41. Tempera on gesso on composition board, 12 x 18”. The Museum

of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3418&page_number=26&template_id=1&sort_order=1

Aaron Douglas. Into Bondage. 1936. Oil on canvas, 60 3/8 x 60 ½”.

Corcoran Gallery of Art, Washington D.C.

http://www.corcoran.org/collection/highlights_name_results.asp?Artist_ID=54

Archibald J. Motley, Jr. Blues. 1929. Oil on canvas, 31 ½ x 39 ½”.

Collection Archie Motley and Valerie Gerrard Browne

http://www.iniva.org/harlem/motley.html

Romare Bearden. Village of Yo. c. 1964. Collage, 9 x 12 ¼”. Yale

University Art Gallery, New Haven, Connecticut

http://artgallery.yale.edu/pages/collection/popups/pc_prints/enlarge25.html

Ernest Crichlow. Lovers. 1938. Lithograph, 14 x 11”

http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=3AC5EAC3737D80598D51879078B8C822

Elizabeth Catlett. And a Special Fear For My Loved Ones (from the series “ I

am a Black Woman”. 1946, printed 1989. Edition of 20, linocut on cream

wove paper, 8 ¼ x 6”. The Art Institute of Chicago, Illinois

http://www.artic.edu/aic/collections/artwork/184343

Robert Blackburn. Girl in Red. 1950. Color lithograph, 18 ¼ x 12 ¼”.

Elizabeth Foundation, New York

http://www.loc.gov/exhibits/blackburn/images/bla14-02366r.jpg

Louis Sullivan. Carson Pirie Scott Department Store. 1898-99 and 1902-04,

1905-06 twelve story south addition. Chicago, Illinois

http://www.cityofchicago.org/Landmarks/C/Carsons.html

Frank Lloyd Wright. Robie House. 1908-10. Chicago, Illinois

http://www.wrightplus.org/robiehouse/robiehouse.html

Frederick Kiesler. Model for Endless House. 1959. Whitney Museum of

American Art, New York

http://amica.davidrumsey.com/luna/servlet/detail/AMICO~1~1~125600~82407:Model-for-the-Endless-House?sort=INITIALSORT_CRN%2COCS%2CAMICOID&qvq=q:AMICOID=WMAA.89.8+;sort:INITIALSORT_CRN,OCS,AMICOID;lc:AMICO~1~1&mi=0&trs=1

Buckminster Fuller and Shoji Sadao. American Pavilion, EXPO ’67, Montreal.

1967.

http://www.greatbuildings.com/cgi-bin/gbi.cgi/US_Pavilion_at_Expo_67.html/cid_2892999.html

Frank Lloyd Wright. Solomon R. Guggenheim Museum. 1956-59. Concrete.

New York

http://www.greatbuildings.com/cgi-bin/gbi.cgi/Guggenheim_Museum.html/cid_2165673.html

Le Corbusier. Notre Dame du Haut. 1955. Reinforced concrete. Ronchamp,

France

http://www.greatbuildings.com/cgi-bin/gbi.cgi/Notre_Dame_du_Haut.html/cid_2399158.html

Jackson Pollock. Autumn Rhythm (Number 30). 1950. Oil and enamel on

canvas, 8’10 ½” x 17’. The Metropolitan Museum of Art, New York

http://www.metmuseum.org/toah/ho/11/na/ho_57.92.htm

Lee Krasner. Untitled. 1949. Oil on composition board, 48 x 37”. The

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3240&page_number=2&template_id=1&sort_order=1

Arshile Gorky. The Liver is the Cock’s Comb. 1944. Oil on canvas, 73 x

98”. Albright Knox Art Gallery, Buffalo, New York

http://www.shafe.co.uk/crystal/images/lshafe/Gorky_The_Liver_is_the_Cocks_Comb_1944.jpg

Willem de Kooning. Woman I. 1950-52. Oil on canvas, 75 7/8 x 58”. The

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3213&page_number=4&template_id=1&sort_order=1

Willem de Kooning. Composition. 1955. Oil, enamel and charcoal on canvas,

79 1/8 x 69 1/8”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Willem%20de%20Kooning&page=1&f=People&cr=1

Franz Kline, Four Square. 1956. Oil on canvas, 78 3/8 x 50 ¾”. National

Gallery of Art, Washington, D.C.

http://www.nga.gov/fcgi-bin/timage_f?object=53091&image=12796&c=

Clyfford Still. 1951-N, 1951. Oil on canvas, 92 5/16 x 69 1/8”. National

Gallery of Art, Washington, D.C.

http://www.nga.gov/fcgi-bin/timage_f?object=71328&image=17896&c=

Barnett Newman. Onement III. 1949. Oil on canvas,71 7/8 x 33 1/2”. The

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4285&page_number=8&template_id=1&sort_order=1

Mark Rothko. Yellow Band. 1956. Oil on canvas, 86 x 80”. Sheldon Museum of

Art, Lincoln, Nebraska

http://www.sheldonartgallery.org/collection/search.html?topic=detail&clct_id=6298

Ad Reinhardt. Abstract Painting. 1960-66. Oil on canvas, 60 x 60”.

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Ad%20Reinhardt&page=1&f=People&cr=1

Adolph Gottlieb. Imaginary Landscape No. 2. 1956. Gouache on paper, 21 x

29 1/2”. Hirshhorn Museum and Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=7779

Robert Motherwell. Elegy to the Spanish Republic, no. 53. 1953-54. Oil on

canvas, 80 x 100”. Albright-Knox Gallery of Art, Buffalo, New York

http://www.albrightknox.org/ArtStart/Motherwell_s.html

Philip Guston. Oasis. Oil on canvas, 61 ½ x 68”. Hirshhorn Museum and

Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/66.2288.jpg

Helen Frankenthaler. Mountains and Sea. 1952. Oil and charcoal on canvas,

86 5/8” x 117 ¼”. National Gallery of Art, Washington, D.C.

http://arthistory.about.com/od/from_exhibitions/ig/action_abstraction/jm-aa_08_07.htm

Grace Hartigan. Summer Street. 1956. Oil on canvas, 80 ½ x 58 1/4”.

Corcoran Gallery of Art, Washington D.C.

http://www.nytimes.com/2008/11/18/arts/design/18hartigan.html

Norman Lewis, Phantasy II. 1946. Oil on canvas, 28 1/8 x 35 7/8”. The

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3524&page_number=1&template_id=1&sort_order=1

Al Leslie. Nix on Nixon. 1960. Oil on canvas, 72 x 79”. Alan Stone Gallery,

New York

http://www.artnet.com/artwork/424183991/1018/alfred-leslie-nix-on-nixon.html

Joan Mitchell. Untitled. c. 1956. Oil on canvas, 19 1/8 x 16”.

University of Kentucky Art Museum, Lexington

http://www.uky.edu/ArtMuseum/luce/Top50/50/pages/Mitchell_jpg.htm

Joan Mitchell. Cous Cous. 1961-62. Oil and acrylic on canvas, 78 ¾” x

119 ¾”. Currier Museum of Art, Manchester, New Hampshire

http://collections.currier.org/Obj56?sid=28085&x=146720

Cy Twombly. Panorama. 1955. Housepaint, crayon and chalk on

canvas, 100 x 134”. Daros Foundation, Zurich, Switzerland

http://www.daros.ch/COL/GALLERY/col_15.html

Mark Tobey. Eventuality. 1944. Tempera on paper mounted on board,

10 x 14 15/16”. Addison Gallery of Art, Phillips Academy, Andover,

Massachusetts

http://accessaddison.andover.edu/Obj4134?sid=660&x=21189

Morris Graves. Bird Sensing the Essential Insanities. 1944. Tempera on

composition board, 26 ¾ x 53 1/4”. Seattle Art Museum, Washington

http://www.seattleartmuseum.org/SAMcollection/code/emuseum.asp?style=text&currentrecord=1&page=search&profile=objects&searchdesc=Morris%20Graves&quicksearch=Morris%20Graves&newvalues=1&newstyle=single&newcurrentrecord=10

Julio Gonzalez. Head. c.1935. Wrought iron, 18 1/4 x 17 x 8 1/2”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2231&page_number=2&template_id=1&sort_order=1

David Smith. Hudson River Landscape. 1951. Welded painted steel and

stainless steel, 49 15/16 x 73 ¾ x 16 9/16”. Whitney Museum of American

Art, New York

http://www.whitney.org/www/american_voices/210/index.html

David Smith. Cubi XXVII. 1965. Stainless steel, 111 1/4 x 87 1/4 x 34 1/8”.

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=David%20Smith&page=1&f=People&cr=1

David Hare. Moon Cage. 1955. Welded steel and brass spray, 30 1/8” height.

The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection,

Venice, Italy

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=David%20Hare&page=1&f=People&cr=1

Claire Falkenstein. Gate. 1962. Iron and colored glass, 8 x 10’. Peggy

Guggenheim Museum, The Solomon R. Guggenheim Museum, Venice.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm6E6cFu79B11wCcR1Ym9KJ4E6FC_ReXBcamCLkDIzNr-ZGZza5pnWNP15r_1GuSOC-sOnCtxBbR3-t9YKaaVfHYYTa12O5U5N0AcIIQShS4r-nt3pp8IsmK9xpU4ZnVQ6_DnrUMDcMfQY/s400/Guggenheim+gate+combo.jpg

Theodore J. Roszak. Thorn Blossom. 1948. Steel and nickel silver, 32 ¾ x

19 ¼ x 12 ½”. Whitney Museum of American Art, New York

http://amica.davidrumsey.com/luna/servlet/detail/AMICO~1~1~124056~213210:Thorn-Blossom?sort=INITIALSORT_CRN%2COCS%2CAMICOID&qvq=q:AMICOID=WMAA.48.6+;sort:INITIALSORT_CRN,OCS,AMICOID;lc:AMICO~1~1&mi=0&trs=1

Herbert Ferber. Calligraph in Cage with Cluster No. 2 II (with Two Heads).

1962. Bronze and copper, 46 x 32 x 36”. Walker Art Center, Minneapolis,

Minnesota

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=559&image_num=1

Seymour Lipton. Jungle Bloom II. 1956. Monel metal with brazed nickel

silver, 31 1/8 x 29 x 14 1/2”. Smithsonian American Art Museum,

Washington, D.C.

http://americanart.si.edu/collections/search/artwork/?id=14817

Richard Stankiewicz. Kabuki Dancer. 1954. Iron, steel on wood base, 84 x

25 x 26”. Whitney Museum of American Art, New York

http://translate.google.com/translate?hl=en&sl=it&u=http://www.sapere.it/tca/minisite/arte/nonsolomostre/2002americani/americani04.html&ei=fcZwSv_rBdWZlAfY8MHpCg&sa=X&oi=translate&resnum=4&ct=result&prev=/search%3Fq%3DRichard%2BStankiewicz,%2522%2BKabuki%2BDancer%2522%26hl%3Den%26rls%3Dgm%26sourceid%3Dgmail%26sa%3DN%26start%3D10

Ibram Lassaw. Kwannon. 1952. Welded bronze and silver, 74 ½” x 45 x 27”.

The Museum of Modern Art, New York

http://www.ibramlassaw.net/images/1951_NebulaInOrion-lg.jpg

Harold Cousins. Hanging Plaiton. 1958. Hammered, welded steel, 62 x

17 x 14”. Cousins estate.

http://www.haroldcousins.com/sculptures/plaitons/id105.htm

John Chamberlain. Dolores James. 1962. Welded and painted steel, 72 1/2 x

101 1/2 x 46 1/4”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=John%20Chamberlain&page=1&f=People&cr=1

Anthony Caro. Sculpture Three. 1962. Steel, paint, aluminum, 78 ½

x 63 ¾ x 148 ½”. Walker Art Center, Minneapolis, Minnesota

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=539&image_num=1

Louise Bourgeois. Red Night. 1946-48. Oil on linen, 30 x 60”. Daros

Exhibitions, Zurich, Switzerland

http://www.daros.ch/COL/GALLERY/col_17.html#

Louise Bourgeois. Quarantania. 1941. Seven wood elements on wood

base, 84 ¾ x 31 ¼ x 29”. Whitney Museum of American Art, New York

http://www.whitney.org/www/american_voices/590/index.html

Louise Nevelson. Untitled. 1954. Painted wood, 24 3/8 x 20 x 3”. Hirshhorn

Museum and Sculpture Garden, Washington, D.C. http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=10649

Maya Deren. Meshes of the Afternoon. 1943.

http://video.google.com/videoplay?docid+4002812108181388236#

Asger Jorn. Letter to My Son. 1956-57. Oil on canvas, 51 x 77”. Tate

Gallery, London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=7759&searchid=11846&tabview=image

Francis Bacon. Three Studies for a Crucifixion. 1962. Oil and sand on canvas,

3 panels, each 78 x 57”. The Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Francis%20Bacon&page=1&f=People&cr=2

Jean Dubuffet. Will to Power. 1946. Oil, pebbles, sand, glass and rope on

canvas, 45 ¾ x 35”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Jean%20Dubuffet&page=1&f=People&cr=1

Lucio Fontana. Spatial Concepts: Expectations. 1959. Synthetic

polymer paint on slashed burlap, 39 3/8 x 32”. The Museum of Modern

Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A1930&page_number=3&template_id=1&sort_order=1

Chapter 3.

Robert Rauschenberg. Bed. 1955. Oil and pencil on pillow, quilt and

sheet on wood supports, 6’3 ¼” x 31 ½” x 8”. The Museum of Modern

Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4823&page_number=4&template_id=1&sort_order=1

Robert Rauschenberg. Goat. 1955-59. Oil, paper, fabric, printed paper,

printed reproductions, metal, wood, rubber shoe heel and tennis ball

on Angora goat and rubber tire on wood platform mounted on four

casters, 42 x 63 ¼ x 64 ¼”. Moderna Museet, Stockholm

http://www.modernamuseet.se/v4/templates/template1.asp?lang=Eng&id=2421

Jasper Johns. Flag. 1954-55. Encaustic, oil and collage on fabric mounted on

plywood, 42 1/4 x 60 5/8”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2923&page_number=1&template_id=1&sort_order=1

Jasper Johns. Target with Four Faces. 1955. Encaustic on newspaper and

cloth over canvas surmounted by four tinted plaster faces in wood box

with hinged front, open 33 5/8 x 26 x 3, canvas 26 x 26, closed box 3 ¾ x

26 x 3 1/3”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2923&page_number=2&template_id=1&sort_order=1

Larry Rivers. Camels. c. 1962. Oil on canvas. The Fitzwilliam Museum

Pharos Collection, Cambridge, England

http://www.fitzmuseum.cam.ac.uk/pharos/collection_pages/20th_pages/PD.12-1979/FRM_PIC_SE-PD.12-1979.html

Alex Katz. The Red Smile. 1963. Oil on canvas, 78 ½ x 114 ¾”.

Whitney Museum of American Art, New York

http://www.ticket.it/minisiti/newyork/Alex_Katz_The_Red_Smile_1963.JPG

Richard Hamilton. Just What Is It That Makes Today’s Homes So

Different, So Appealing? 1956. Collage, 10 ¼ x 9 ¾”. Kunsthalle

Tubingen, Germany

http://htca.us.es/blogs/perezdelama/files/2008/10/hamilton.jpg

Eduardo Paolozzi. St. Sebastian I. 1957. Bronze, 84 x 28 x 14”.

National Galleries of Scotland, Edinburgh

http://www.nationalgalleries.org/index.php/collection/online_az/4:322/results/0/22780/

Andy Warhol. 100 Cans. 1962. Oil on canvas, 72 x 52”. Albright-Knox

Art Gallery, Buffalo, New York

http://www.albrightknox.org/ArtStart/Warhol_l.html

Andy Warhol. Green Marilyn. 1962. Silkscreen on synthetic polymer

paint on canvas, 20 x 16”. National Gallery of Art, Washington D.C.

http://www.nga.gov/fcgi-bin/timage_f?object=72039&image=18386&c=

Claes Oldenburg. Plaster Case I. 1961-62. Painted plaster sculptures on

ceramic plates, metal platter and cups in glass-and-metal case, 20 ¾

x 30 1/8 x 14 ¾”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4397&page_number=7&template_id=1&sort_order=1

Claes Oldenburg. Floor Burger. 1962. Canvas filled with foam rubber and

paper cartons, painted with Liquitex and latex, 52 x 84”. Art Gallery of

Ontario, Toronto

http://www.tate.org.uk/research/tateresearch/tatepapers/04autumn/shiff.htm

Tom Wesselmann. Great American Nude #4. 1961. Oil, enamel,

charcoal and pencil with collage of photomechanical reproductions,

cotton, plastic and paper on wood panel, 48 x 48 ¼”. Hirshhorn

Museum and Sculpture Garden, Washington D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=14338

Roy Lichtenstein. Whaam. 1963. Acrylic and oil on canvas, 68” x

160”. The Tate Gallery, London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=8782&searchid=9669&tabview=image

James Rosenquist. F111. 1964-65. Oil on canvas with aluminum, 23 sections,

10 x 86'. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5021&page_number=3&template_id=1&sort_order=1

Jim Dine. Red Robe with Hatchet (Self-Portrait). 1964. Oil, metal, canvas,

wood, 87 x 60 x 24”. Richmond Museum of Fine Arts, Virginia

http://www.vmfa.state.va.us/collections/85_381.html

Allan Kaprow. 18 Happenings in l6 Parts. 1959. (First performed at the

Reuben Gallery, Fourth Avenue, New York)

http://www.mediaartnet.org/works/18-happenings-in-6-parts/

Lucas Samaras. Untitled. 1963. Mixed media, assemblage/collage,

box, photographs, pins, colored yarn, 10 ¼ x 14 3/8 x 8”.

Los Angeles County Museum of Art, California

http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=image;hex=AC1999_35_48.jpg

Carolee Schneemann. Meat Joy. 1964. Group performance, raw fish, chickens

sausages, wet paint, plastic, rope, shredded scrap paper.

http://www.caroleeschneemann.com/meatjoy.html

Al Leslie and Robert Frank. Pull My Daisy. 1959. 16 mm., 30 min.

http://andel.home.mindspring.com/beatcinema1_notes.htm

Robert Frank. Rodeo, New York City (from The Americans). 1955.

Gelatin silver print, 13 x 9 1/16”. The Metropolitan Museum of

Art, New York

http://www.metmuseum.org/toah/hd/phev/ho_1992.5162.3.htm

Bruce Conner. A Movie. 1958.

http://www.tudou.com/programs/view/3-9tCeFXOEo/

Yoko Ono. Cut Piece. 1964. Japan and in 1965 Carnegie Hall, New York

http://www.mediaartnet.org/works/cut-piece/

Joseph Beuys. How to Explain Art to a Dead Hare. 1965. Galerie Alfred

Schmela, Dusseldorf, Germany

http://i12bent.tumblr.com/post/85643466/joseph-beuys-how-to-explain-pictures-to-a

Nam June Paik. Zen for TV. 1963, 1976 version. Manipulated vintage

television and components, 19 x 22 ½ x 18”. Smithsonian Museum

of American Art, Washington, D.C.

http://americanart.si.edu/collections/search/artwork/?id=76252

Alison Knowles. Bean Rolls. 1963. Can of texts and beans, 4” square. Edition

of 200. Out of print.

http://www.aknowles.com/beanrolls.html

Ray Johnson. James Dean (Lucky Strike). 1957. Collage on cardboard

panel, 18 x 16”. Estate of Ray Johnson at Richard L. Feigen & Co.,

New York

http://popart.npg.org.uk/art/166674/James_Dean_Lucky_Strike

George Segal. The Diner. 1964-66. Plaster, wood, chrome, laminated plastic,

Masonite, fluorescent lamp, glass, paper, 93 ¾ x 144 ¼ x 96”. Walker Art

Center, Minneapolis

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=753&image_num=1

Marisol Escobar. Women and Dog. 1964. Wood, plaster, synthetic

polymer, taxidermed dog head and miscellaneous items, 72 ¼ x 73 x

30 15/16”. The Whitney Museum of American Art, New York

http://www.csupomona.edu/~plin/women2/images/marisol_big.jpg

Marjorie Strider, Peeled III. 1977. Painted cast aluminum, 24 x 18 x 18”

http://www.cultureport.com/cultureport/artists/strider/index.html

Red Grooms with Mimi Gross. Ruckus Manhattan. 1975. Painted three-

dimensional installation

http://www.artinfo.com/media/image/59279/002_Grooms_Ruckus.jpg

Bob Thompson. Tree. 1962. Oil on canvas, 78 3/16 x 108 3/16”. National

Gallery of Art, Washington, D.C.

http://www.nga.gov/fcgi-bin/tinfo_f?object=106421

Yayoi Kusama. Infinity Nets. 1951. Ink on paper, 15 ½ x 10 1/8”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3315&page_number=1&template_id=1&sort_order=1

Yayoi Kusama. Oven-pan. 1963. Paint, canvas, cotton, steel wood,

Walker Art Center, Minneapolis, Minnesota

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=32&image_num=1

Peter Voulkos. Hack’s Rock. 1959. Stoneware on wood base painted

with epoxy resin, 59 5/8 x 24 ¼ x 15”. Hirshhorn Museum and

Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=13959

Paul Soldner. Wall Piece (John Lennon and Playboy). 1969. Raku, 25 ¼ x

18 ½ x 3 1/4”. Ruth Chandler Williamson Gallery, Scripps College,

Claremont, California

http://web-kiosk.scrippscollege.edu/OBJ*14$4632?page=14

John Mason. Sculpture. 1961. Stoneware, 42 x 13 ½ 11”. Ruth Chandler

Williamson Gallery, Scripps College, Claremont, Califronia

http://web-kiosk.scrippscollege.edu/VieO17016$11126*27318

Stephen De Staebler. Clay Furniture. 1969-70. Berkeley Art Museum,

California

http://en.wikipedia.org/wiki/File:Stephen_De_Staebler_clay_furniture.jpeg

Robert Arneson. Breast Trophy. 1964. Glazed stoneware, 19 ¾ x 11 ¾

x 8”. Smithsonian American Art Museum, Washington, D. C.

http://americanart.si.edu/images/1990/1990.74_1a.jpg

Kenneth Price. Orange. 1961. Ceramic painted with lacquer and acrylic on

wood base, 1/12 x 5 ¾ x 5 3/4”. Hirshhorn Museum and Sculptures

Garden, Washington, D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/66.4173.jpg

Manuel Neri. Chula. c. 1958-60. Plaster and pigment, 46 x 14 16 ½”.

San Francisco Museum of Modern Art

http://www.sfmoma.org/artwork/3549#

Joan Brown. Nude, Dog, Clouds. 1958-60. Oil on canvas, 72 x 60”.

Smithsonian Museum of American Art, Washington, D.C.

http://americanart.si.edu/images/2005/2005.5.11_1a.jpg

Bruce Conner. Child. 1959. Wax, wood, nylon, cloth, metal, twine and high

chair, 34 5/8 17 16 1/2”. The Museum of Modern Art, New York

http://www.deardeath.com/art/index.php?file=papm/get_file&pid=2557&size=normal

David Gilhooly. The Pillar of Frog Civilization. 1975. Glazed earthenware, 40

½ 11 1/2”. National Gallery of Australia, Canberra

http://www.nga.gov.au/International/Catalogue/Detail.cfm?IRN=116230&ViewID=2&GalID=ALL

Viola Frey. Grandmother Figure. 1978-80. Glazed earthenware, 72 x 24

x 18”. Daniel Jacobs and Derek Mason collection, Richmond, Virginia

http://www.tfaoi.com/am/9am/9am165.jpg

William T. Wiley. Lame and Blind in Eden. 1969. Watercolor and felt tip pen

on paper, 22 30”. San Jose Museum of Art, California

http://www.sjmusart.org/content/exhibitions/upcoming/exhibition_info.phtml?itemID=351

Edward Kienholz. The Beanery. 1965. Mixed media, 7 x 22 x 6’.

Stedeljk Museum, Amsterdam

http://theochem.chem.rug.nl/~heijnen/Kienholz/Works/Beanery-detail.jpg

Wayne Thiebaud. Cakes. 1963. Oil on canvas, 60 x 72”. National Gallery

of Art, Washington, D.C.

http://www.nga.gov/fcgi-bin/timage_f?object=72040&image=18388&c=

Ed Ruscha. Hollywood. 1968. Color screenprint, 12 ½ x 40 ½”. Los

Angeles County Museum of Art

http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=48598;type=101

Arman. Journey in France. 1963. Metal sealers from wine bottles in

synthetic resin, 68 ½ x 48 x 2 ¾”. Hirshhorn Museum and Sculpture

Garden, Washington D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=3237

Yves Klein. People Begin to Fly. 1961. Dry pigment, synthetic resin on

paper/fabric, 8’1” x 13’ ½”. The Menil Collection, Houston, Texas

http://www.menil.org/programs/ricemenil.php

Cesar Baldacinni. The Yellow Buick. 1959. Compressed automobile, 59

½ x 30 ¾ x 24 7/8”. The Museum of Modern Art, New York

http://images.google.com/imgres?imgurl=http://radicalart.info/process/squeeze/cesar/1961TheYellowBuick.jpg&imgrefurl=http://radicalart.info/process/squeeze/index.html&usg=__frXqxIGAVBRMupYtm6Vzdwvl14o=&h=250&w=129&sz=20&hl=en&start=1&um=1&tbnid=FAhcXAudi0fJjM:&tbnh=111&tbnw=57&prev=/images%3Fq%3DCesar%2BBaldaccini,%2B%2522The%2BYellow%2BBuick%2522%26hl%3Den%26rls%3Dgm%26sourceid%3Dgmail%26sa%3DG%26um%3D1

Jean Tinguely. Homage to New York. 1960. Constructed and destroyed

at The Museum of Modern Art, New York

http://www.mediaartnet.org/works/homage-to-new-york/

Bridget Riley. Arrest 2. 1965. Acrylic on linen, 76 ¾ x 75”. The Nelson-Atkins

Museum of Art, Kansas City, Missouri

http://www.nelson-atkins.org/art/CollectionDatabase.cfm?id=32298&theme=m_c

Victor Vasarely. Banya. 1964. Gouache on wood, 23 ½ x 23 ½”. Tate

Gallery, London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=15712&searchid=12100&tabview=image

Josef Albers. Homage to the Square: Apparition. 1959. Oil on masonite, 47

½ x 47 1/2”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Josef%20Albers&page=1&f=People&cr=5

Larry Poons. Via Regia. 1964. Acrylic and pencil on canvas, 72 x 144”.

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/66.4105.JPG

Mies van der Rohe. Seagram Building. 1954-58. Steel frame with curtain wall,

bronze exterior columns, New York

http://www.greatbuildings.com/cgi-bin/gbi.cgi/Seagram_Building.html/cid_2921866.html

Eero Saarinen and Associates. TWA Terminal, JFK International Airport,

1956-62. Concrete, New York

http://www.greatbuildings.com/cgi-bin/gbi.cgi/TWA_at_New_York.html/cid_twa_ny_mce_113_12.html

Kenneth Noland. Beginning. 1958. Magna on canvas, 90 x 95 7/8”.

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/66.3878.jpg

Morris Louis. Saraband. 1959. Acrylic resin on canvas, 101 1/8 x

149”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Morris%20Louis&page=1&f=People&cr=1

Sam Gilliam. Light Depth. 1969, acrylic on canvas, 10 x 75’. Corcoran

Gallery of Art, Washington, D.C.

http://www.corcoran.org/collection/highlights_name_results.asp?Artist_ID=12

Ellsworth Kelly. Blue, Green, Yellow, Orange, Red. 1966. Acrylic on

canvas, five panels, each 60 x 48”. The Solomon R. Guggenheim

Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Ellsworth%20Kelly&page=1&f=People&cr=1

Frank Stella. Die Fahne Hoch. 1959. Enamel on canvas, 121 ½ x 73”.

Whitney Museum of American Art, New York

http://www.whitney.org/www/american_voices/240/index.html

Anne Truitt. Insurrection. 1962. Acrylic on wood, 100 x 42 x 16”.

Corcoran Gallery of Art, Washington, D.C.

http://annetruitt.org/collections/

Barnett Newman. Who’s Afraid of Red Yellow and Blue III. 1966-67. Oil

on canvas, 96 x 214”. Stedelijk Museum, Amsterdam, The Netherlands

http://www.museumlab.org/wp-content/photos/Barnett_Newman__Who__s_Afraid_of_Red__Yellow_and_Blue_III.jpg

Jo Baer. Horizontals Tiered (Vertical Diptych). 1966. Oil and synthetic

resin on canvas, 52 x 72”. Blanton Museum of Art at the University

of Texas, Austin

http://blantonmuseum.org/works_of_art/detail.cfm?work=2&sort=an&view=all&startrow=1&id=390&ga=29

Richard Diebenkorn. Ocean Park #54. 1972. Oil on canvas, 100 x 81”.

San Francisco Museum of Modern Art

http://www.sfmoma.org/artwork/4418#

Louise Nevelson. Sky Cathedral. 1958. Painted wood, 11’ 3 ½” x 10 ¼”

X 18”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4278&page_number=1&template_id=1&sort_order=1

Lee Bontecou. Untitled. 1962. Welded metals and canvas, 68 x 72 x 30”.

The Museum of Fine Arts, Houston

http://www.mfah.org/artsearch.asp?par1=1&par2=Bontecou%20%20%20%20%20%20&par3=1&par4=547&par5=1&par6=1&par7=&lgc=4&eid=&currentPage=1

Nancy Grossman. Potawatami. 1967. Leather collage with horse harnesses,

63 x 37 3/4 x 13”. Michael Rosenfeld Gallery, New York

http://www.michaelrosenfeldart.com/artists/artists_represented.php?i=3&xl=8672&l=1

Mark di Suvero. BLT. 1966. Steel, wood and tire, 93 x 114”. Museum of

Fine art, Boston

http://www.mfa.org/collections/search_art.asp?recview=true&id=34744&coll_keywords=Mark+Suvero&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=1&coll_on_view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=0&coll_start=1

Chuck Ginnever. Dante's Rig. 1964. Aluminum, steel and steel cable, 156 x

180 x 300”. Collection of the artist.

http://www.charlesginnever.net/#

George Rickey. Three Lines. 1964. Stainless steel, 18’ high. DeCordova

Museum and Sculpture Park, Lincoln, Massachusetts

http://www.decordova.org/decordova/sculp_park/rickey.html

Dan Flavin. The nominal three (to William of Ockham). 1963. Daylight

Fluorescent light, 6 foot fixtures, 72” high, overall dimensions variable.

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Dan%20Flavin&page=1&f=People&cr=1

Stephen Antonakos. Red Neon from Wall to Floor. 1967. Neon with steel

holds, 118 x 142 x 165”. National Museum of Contemporary Art,

Athens, Greece

http://www.emst.gr/ARTIST.asp?lang_id=ENG&msi1=COLLECTIONS&mssi1=COLLECTIONS-artists&artist_id=71

Richard Artschwager. Table with Pink Tablecloth. 1964. Formica on

wood, 25 ½ x 44 x 44”. The Art Institute of Chicago, Illinois

http://www.artic.edu/aic/collections/artwork/146901

Chapter 4.

Donald Judd. Untitled. 1969. Cold-rolled steel, six boxes, each 39 3/8 x

39 3/8 39 3/8”, 93/4” between each box. Kunstmuseum Basel,

Switzerland

http://80.74.155.18/eMuseumPlus?service=direct/1/ResultDetailView/result.inline.list.t1.collection_list.$TspTitleImageLink.link&sp=13&sp=Sartist&sp=SfilterDefinition&sp=0&sp=1&sp=1&sp=SdetailView&sp=4&sp=Sdetail&sp=0&sp=T&sp=0&sp=SdetailList&sp=0&sp=F&sp=Scollection&sp=l3788

Tony Smith. Die. Model 1962, fabricated 1968. Steel with oiled finish, 72 x 72

x 72”. National Gallery of Art, Washington, D.C.

http://www.nga.gov/fcgi-bin/timage_f?object=127623&image=26369&c=

Robert Morris. Untitled (L-Beams). 1965. Stainless steel, three parts,

96 x 96 x 24” overall. Whitney Museum of American Art, New York

http://amica.davidrumsey.com/luna/servlet/detail/AMICO~1~1~125262~47844:Untitled--L-beams-?sort=INITIALSORT_CRN%2COCS%2CAMICOID&qvq=q:AMICOID=WMAA.76.29a-c+;sort:INITIALSORT_CRN,OCS,AMICOID;lc:AMICO~1~1&mi=0&trs=2

Sol LeWitt. Serial Project I (ABCD). 1966. Baked enamel on

steel units over baked enamel on aluminum, 20” x 13’7” x 13’7”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3528&page_number=3&template_id=1&sort_order=1

Ronald Bladen. The X. 1968. Painted aluminum, 22 x 24 x 14', Miami-Dade Art

in Public Places, Florida and at the Corcoran Gallery of Art, Wahington,

D.C.

http://www.miamidade.gov/publicart/photo-mdc-bladen.asp

http://images.google.com/imgres?imgurl=http://www.jacobsonhoward.com/files/images/RB-XatCorcoran-web.jpg&imgrefurl=http://www.jacobsonhoward.com/artists/bladen&usg=__6SBL2i-3HmsTcGk9ipKgn69zi14=&h=649&w=520&sz=100&hl=en&start=1&um=1&tbnid=IG1i0--kLnaCbM:&tbnh=137&tbnw=110&prev=/images%3Fq%3DRonald%2BBladen,%2B%2522X%2522%2B%2Bat%2Bthe%2BCorcoran%26hl%3Den%26rls%3Dgm%26sourceid%3Dgmail%26sa%3DN%26um%3D1

Carl Andre. 144 Zinc Square. 1967. Zinc plates, each 12” square and 3/8”

thick, overall 144 x 144”. Milwaukee Art Museum, Wisconsin

http://www.mam.org/collection/details.php?ID=M1969.22

Agnes Martin. White Flower. 1960. Oil on canvas, 71 7/8 x 72”. The

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Agnes%20Martin&page=1&f=People&cr=2

Robert Ryman. Untitled. 1965. Oil on linen, 11 ¼ x 11 1/8”. The

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5098&page_number=2&template_id=1&sort_order=1

Dorothea Rockburne. Tropical Tan. 1968. Wrinkle finish paint on greased

iron, 4 panels, overall 96 x 144”. Collection of the artist

http://www.dorothearockburne.com/

Brice Marden. D’apr?s la Marquise de la Solana. 1969. Oil and wax on

canvas, 3 panels, overall 77 5/8 x 117 3/8”. The Solomon R.

Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Brice%20Marden&page=1&f=People&cr=1

Robert Mangold. ½ W Series. 1968. Sythetic polymer paint on composition

board, two panels, overall 48 ¼ x 8 1/2”. The Museum of Modern Art,

New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3723&page_number=1&template_id=1&sort_order=1

Joseph Kosuth. One and Three Chairs. 1965. Wood folding chair, mounted

photograph of a chair and photographic enlargement of a dictionary

definition of a chair, 32 3/8 14 /8 x 20 7/”. The Museum of Modern Art,

New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3228&page_number=1&template_id=1&sort_order=1

Robert Barry. All the things I know but of Which I am not at the moment

Thinking – 1:36 p.m.; June 15, 1969. Stedelijk Museum, Amsterdam

http://www.leftmatrix.com/barrylist.html

On Kawara. June 16, 1966, “Two Tankers and Two Tugboats crashed in a

Fiery disaster in Lower New York Bay . 1966. From Today series, 1966-

present. Collection of the artist

http://www.diabeacon.org/exhibs_b/kawara/index.html

Lawrence Weiner. The Residue of a Flare Ignited Upon a Boundary. 1969.

Language plus the materials referred to, dimensions variable.

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Lawrence%20Weiner&page=1&f=People&cr=1

William Anastasi. Six Sites. 1967. Six photo-silkscreens on canvas of wall

behind at Dwan Gallery, New York

http://www.foundationforcontemporaryarts.org/works/william_anastasi_installation.html

Mel Bochner. Measurement Room. 1969. Tape and Letraset, dimensions

variable. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A625&page_number=6&template_id=1&sort_order=1

John Baldessari. Terms Most Useful in Describing Creative Works of Art.

1966-68. Acrylic on canvas, 113 ¾ x 96”. Museum of Contemporary

Art, San Diego, California

http://www.mcasd.org/collection/permcol/artists/baldessari.html

Bruce Nauman. From Hand to Mouth. 1967. Wax over cloth, 28 x 10

1/8 x 4”. Hirshhorn Museum and Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/93.6-TIF.jpg

Jannis Kounellis. Horses. 1969. Installed at L’Attico Gallery, Rome.

http://www.ljudmila.org/scca/worldofart/english/foto/ny_e113.jpg

Mario Merz. Igloo de Giap. 1968. Metal, plastic bags, earth, neon tubes, 120 x

47¼”. Centre Georges Pompidou, Paris

http://www.artfacmetz.com/artfacmetzneufblogcom/images/2008/11/07/19_merz.jpg

Eva Hesse. Hang Up. 1966. Acrylic on cloth over wood, acrylic on cord over

steel tube, 72 x 84 x 78”. The Art Institute of Chicago.

http://www.artic.edu/aic/collections/artwork/71396

Eva Hesse. Several. 1965. Acrylic, papier-mache, latex and rubber,

84 x 11 x 7”. The Estate of Eva Hesse, Hauser and Wirth Zurich

London

http://www.thejewishmuseum.org/exhibitions/EvaHesse/gallery

Keith Sonnier. Lit Square. 1968. Neon light and glass, 60 x 60 x 24”.

Museo di Arte Moderna e Contemporanea, Trento, Italy

http://www.mart.tn.it/gallery.jsp?id_schema=6&COL0002=&COL0001=127&hostmatch=true&id_scat=0&btnSearch=Vai&area=42&ID_LINK=272

Jackie Winsor. Bound Square. 1972. Wood and twine, 75½” x 76” x 14 ½”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6402&page_number=1&template_id=1&sort_order=1

Alan Saret. Sun Register. 1967. Painted galvanized steel, 48 x 66 x 66”. Allen

Memorial Art Museum, Oberlin College, Oberlin, Ohio

http://www.oberlin.edu/amam/Saret_SunRegister.htm

Richard Tuttle. Red Canvas. 1967. Dyed canvas, 57 x 55”. Corcoran Gallery

of Art, Washington, D.C.

http://www.corcoran.org/collection/highlights_name_results.asp?Artist_ID=14

Robert Morris. Untitled. 1969. Felt, 72 x 144”. Norton Simon Museum,

Pasadena, California

http://www.nortonsimon.org/collections/browse_artist.php?name=Morris%2C+Robert&resultnum=2

Richard Serra. One Ton Prop (House of Cards). 1969, refabricated 1986. Lead

antimony, 4 plates, each 48 48 x 1”. The Museum of Modern Art, New

York.

http://www.moma.org/collection/object.php?object_id=81294

Richard Serra. Splashing. 1968. Lead installation, Castelli Warehouse, New

York and destroyed

http://www.tate.org.uk/research/tateresearch/tatepapers/07spring/saletnik.htm

Barry Le Va. Continuous and Related Activity; Discontinued by the Act of

Dropping. 1967/90. Felt and glass, 26 x 20’. Whitney Museum of

American Art, New York

http://www.fallonandrosof.com/2005/01/why-you-should-see-barry-le-va-even-if.html

Lynda Benglis. Odalisque (Hey, Hey Frankenthaler). 1969. Poured

pigmented latex, 165 x 34 ½”. Dallas Museum of Art, Texas

http://www.artnet.com/usernet/awc/awc_workdetail.asp?aid=424383056&gid=424383056&cid=83079&wid=424453877&page=2

Alan Shields. Ajax. 1972-73. Acrylic, canvas, aluminum tubing, glass

beads and thread, 96 x 96 x 96”. Estate of the artist

http://www.larissagoldston.com/artists/alanshields/01.aspx

Al Loving. Self Portrait no. 23. 1973. Dyed cloth. Estate of the artist

http://negroartist.com/detroit/alvin%20loving/pages/alvin%20loving%20self%20portrait%20no%2023%201973_jpg.htm

Lenore Tawney. Hanging. 1965. Linen, silk and wood, slit tapestry weaving

with wrapped cut fringe; embellished with feathers; silk and linen knoted

fringes, 48 x 16”. The Art Institute of Chicago

http://www.artic.edu/aic/collections/artwork/73117

Claire Zeisler. Freestanding Fiber Construction Entitled “Black Tuesday”.

1968. Jute and wool, square knotted with cascading ends and wood pile,

84 x 60”. The Art Institute of Chicago

http://www.artic.edu/aic/collections/artwork/72921

Alan Sonfist. Time Landscape of New York City. 1965-present, West Houston

and LaGuardia Place, 45 x 400'. New York

http://www.alansonfist.com/NaturalCulturalLandscapes.html

Robert Smithson. Spiral Jetty. 1970. Mud, rocks, salt crystals,

1500 x 15’. Great Salt Lake, Utah.

http://www.spiraljetty.org/

Michael Heizer. Double Negative. 1969. 218,000 ton displacement of rhyolite

and sandstone, two trenches, overall 30 x 50 x 1500'. Overton, Nevada.

The Museum of Contemporary Art, Los Angeles (gift of Virginia Dwan)

http://doublenegative.tarasen.net/double_negative.html

Robert Morris. Untitled (version 1 in 19 parts). 1968/2002. Felt, 103 x 85

44”. Yale University Art Gallery, New Haven, Connecticut

http://artgallery.yale.edu/pages/collection/popups/pc_modern/enlarge17.html

Walter de Maria. The New York Earth Room. 1977. 250 cubic yards of

earth, 3600 square feet of floor space, 22” depth, 280,000 pounds.

Dia Art Foundation, New York

http://www.earthroom.org/

Hans Haacke. Bowery Seeds (Bowery Samen). 1970. New York City

http://www.greenmuseum.org/c/ecovention/bowery.html

Dennis Oppenheim. Cancelled Crop. 1969.

http://www.dennis-oppenheim.com/works/early-work/145

Nancy Holt. Sun Tunnels. 1973-76. Four drain pipes, each 9 x 18’.

Lucin, Utah

http://www.earthworks.org/tunnels.html

Mary Miss. Vs in a Field. 1969.

http://www.marymiss.com/index_.html

Alice Aycock. Maze. 1972. Wood, 32’ in diameter, 6’high. Gibney Farm

near New Kingston, Pennsylvania

http://www.artinfo.com/news/photos/1104/12070/

Michelle Stuart. Niagara II, Niagara Gorge. 1976. Red shale, gray shale on

muslin mounted on rag paper, 156 62”. Walker Art Center, Minneapolis

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=2634&image_num=1

Michelle Stuart. Stone Alignments/Solstice Cairns. 1979. 3200 boulders

from Hood River, sited on Rowena Plateau, Columbia River Gorge,

Oregon, 1000 x 800'. Commissioned by the Portland Center for the Visual

Arts, Oregon

http://en.wikipedia.org/wiki/File:STUART1979Solstice_Cairns.jpg

Christo and Jeanne Claude. Wrapped Coast. 1968-69. Erosion control

fabric covering one million square feet. Little Bay, Australia

http://www.christojeanneclaude.net/wc.shtml

Jan Dibbets. Perspective Correction – My Studio II, 3: Square with Cross on

Floor. 1969. Black and white photograph on photographic canvas, 43 3/8

x 43 3/8”. Barbara Gadstone Gallery, New York

http://www.gladstonegallery.com/dibbets.asp

Richard Estes. Nedicks. 1970. Oil on canvas, 48 x 60”. Thyssen-

Bornemisza Museum, Madrid

http://www.museothyssen.org/thyssen/ficha_obra/810

Janet Fish. August and the Red Glass. 1976. Oil on canvas, 72 x 60”.

Virginia Museum of Fine Art, Richmond

http://www.vmfa.state.va.us/collections/85_537.html

Audrey Flack. Jolie madame (Pretty Woman). 1973. Oil on canvas,

71 ½ x 96”. National Gallery of Australia, Canberra

http://nga.gov.au/International/Catalogue/Detail.cfm?IRN=111375&ViewID=2&GalID=ALL

Chuck Close. Big Self-Portrait. 1967-68. Acrylic on canvas, 107 1/2 x 83 1/2”.

Walker Art Center, Minneapolis

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=77&image_num=1

Philip Pearlstein. Two Female Models Reclining on a Cast-Iron Bed.

1968. Oil on canvas, 72 x 72”. Virginia Museum of Fine Arts,

Richmond

http://www.vmfa.state.va.us/collections/85_432.html

Sylvia Sleigh. The Turkish Bath. 1973. Oil on canvas, 76 x 100”. The David

and Alfred Smart Museum of Art, University of Chicago

http://www.sylviasleigh.com/images/29turkishbath/29turkishbath.html

Alice Neel. Daniel Algis Alkaitis, Class of 1965. 1967. Oil on canvas,

50 x 34”. Hood Museum of Art, Dartmouth College, Hanover, New

Hampshire

http://hoodmuseum.dartmouth.edu/collections/overview/contemporary/paintings/P978155.html

Duane Hanson. Tourists. 1970. Polyester resin and fiberglass,

painted in oil and mixed media, Man 60 x 31 ½ x 12”, Woman

63 x 17 x 14 ½”. National Galleries of Scotland, Edinburgh

http://www.nationalgalleries.org/collection/online_az/4:322/result/0/297?initial=H&artistId=3552&artistName=Duane%20Hanson&submit=1

Vito Acconci. Following Piece. 1969. Photograph. Collection of the artist

http://anormalboy.files.wordpress.com/2009/02/acconci-following1.jpg

John Perreault. Hair dress/Skirt/Veil/Apron (conceived for “The Fashion

Show Poetry Event”). 1969. Acrylic Hair. Collection of the artist

http://www.oxadox.com/article/healthfood/2009-02-13/76702.html

Nam June Paik. TV Bra for Living Sculpture. (Worn in concert by Charlotte

Moorman) 1969. Video tubes, televisions, rheostat, foot switches, plexi

boxes, vinyl straps, cab les, copper wire. Walker Art Center, Minneapolis

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=874&image_num=1

Diane Arbus. A Young Family in Brooklyn going for a Sunday

Outing. Their baby is named Dawn. Their son is retarded. 1966.

Gelatin silver print, 14 15/16 x 14 15/16”. Harvard University Art

Museum/Fogg Museum, Cambridge, Massachusetts

http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=286055

Garry Winogrand. Centennial Ball, Metropolitan Museum, New York

(Woman in white dress dancing). c. 1969. Gelatin silver print,

8 ¾ x 13”. The Art Institute of Chicago

http://www.artic.edu/aic/collections/artwork/130009

Lee Friedlander. New York City. 1966. Gelatin silver print, 5 ¾ x

8 11/16”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2002&page_number=66&template_id=1&sort_order=1

Paul Thek. The Tomb -Death of a Hippie. 1967. Destroyed. (Peter Hujar

photograph, c. 1966, Walker Art Center Archives, Minneapolis)

http://visualarts.walkerart.org/detail.wac?id=2537&title=Articles

Nancy Graves. Mongolian Bactrian (To Harvey Brennan). 1969. Wood, steel,

burlap, polyurethane, skin, wax, oil paint, 96 x 126 48”. State of

Nordhein-Westfalen, Germany

http://www.nancygravesfoundation.org/index.html

Chapter 5.

Vito Acconci. Seedbed. 1972. Ramp, 22 x 16 x 2'. Performed in Sonnabend

Gallery, New York

http://www.errantbodies.org/standard.html

Chris Burden. Through the Night Softly. 1973. Broken glass. Performed in

Los Angeles.

http://www.volny.cz/rhorvitz/burden.html

Gilbert and George. Singing Sculpture. 1971. Performed in Sonnabend

Gallery, New York

http://www.vdb.org/smackn.acgi$tapedetail?GILBERTGEO

William Wegman. Milk/Floor. 1970. Gelatin-silver print, each

13 x 10 ½”. Fotomuseum Winterthur, Switzerland

http://fotomuseum.ch/index.php?id=302&L=1&artist_id=10156

Joseph Beuys. I Like America and America Likes Me. 1974. Rene Block

Gallery, New York

http://www.tate.org.uk/modern/exhibitions/beuys/room4_lg2.shtm

Les Levine. Deep Gossip. 1979. Installation, State University of New York,

Plattsburgh and Ronald Feldman Gallery, New York

http://www.feldmangallery.com/media/levine/levexh_80/deepcouch-01.jpg

Michael Snow. Wavelength. 1967. 45 min., b x w, 16 mm.

http://www.mediaartnet.org/works/wavelength/

Peter Campus. Three Transitions. 1973. Video (color,sound), 4.53

minutes. The Museum of Modern Art, New York

http://www.eai.org/eai/title.htm?id=3127

Mary Lucier. Dawn Burn. 1975/83. Seven channel video installation, video,

laser disc players, video tape, sculptre and plan, 98 x 45 x 54”. San

Francisco Museum of Modern Art

http://www.sfmoma.org/exhibitions/194

Bill Viola. Chott el-Djerid (A Portrait in Light and Heat). 1979. Video (color

and sound), 28 minutes. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?object_id=89506

Judy Chicago. Dinner Party. 1974-79. Mixed media: ceramic,

porcelain, textile, 48’ each side. Brooklyn Museum of Art, New York

http://www.brooklynmuseum.org/eascfa/dinner_party/home.php

Miriam Schapiro. Kimono. 1976. Collage and acrylic on canvas, 60 x

50”. Sweet Briar College Art Gallery, Virginia

http://www.artgallery.sbc.edu/schapiro.htm

Barbara Zucker. Pipe Without Ruffle. 1979, rusted steel and flocking,

45 ¼ x 27 x 2 ½”. Collection of the artist

http://www.sculpture.org/documents/scmag97/zucker/sm-zuckr.shtml

Ann Sperry. Garden of Delights. 1980. Welded and painted steel, 104 x 7 ½'.

Commissioned by A.R.E.A. For Wards Island, New Yrk, now University of

Nebraska, Lincoln.

http://www.annsperry.com/gardenOfDelights.html

Harmony Hammond. Floorpiece VI. 1973. Cloth and acrylic, 65” diameter.

Brooklyn Museum, New York https://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/harmonyhammond.php?i=832

Donna Byars. Dream Stones/The Gifts. 1979.

http://joannemattera.blogspot.com/2007_11_01_archive.html

Howardena Pindell. Untitled (#7). 1973. Pen and ink on punched

papers, talcum powder and thread on oak tag paper, 10 1/8 x 8 3/8”. The

Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4625&page_number=1&template_id=1&sort_order=1

Kazuko Miyamoto. String Construction around a Cylinder of my Height. 1975.

Painted wood, string, nails, c. 62”. Collection of the artist

http://www.shuandjoe.com/2009/05/kazuko-miyamoto-sol-lewitt/

Joan Semmel. Woman Under Sheet. 1974. Oil on canvas, 48 x 78”. National

Museum of Women in the Arts, Washington, D.C.

http://www.nmwa.org/clara/search_artist_detail.asp?artist_id=24440&search=basic

Joan Snyder. Small Symphony for Women. 1974. Mixed media on canvas,

24 ¼ x 72 3/4”. Wichita Art Museum, Kansas

http://wichitaartmuseum.org/acm/detail.php?action=v&id=1247756380678907

Judith Bernstein. A.I.R. Installation. 1973. Drawing installation. A.I.R.

Gallery, New York

http://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/332.615.jpg

Lynda Benglis. Advertisement, November 1974, Artforum

http://en.wikipedia.org/wiki/File:Benglis_-_Artforum.jpg

Adrian Piper. Catalysis IV, Frozen Speech. 1970

http://www.e-xplo.org/games/images/6_Piper_Catalysis_IV.gif

Martha Wilson. Male Impersonator (Butch). 1973-74. Color photo (by Richard

Jardens) with text.

http://artgallery.dal.ca/exhibitions/past2009.html

Mary Beth Edelson. Death of the Patriarchy. 1976. Photo-Collage, 30 x 40”

http://fathersforlife.org/images/death_of_the_patriarchy_l.jpg

Carolee Schneemann. Interior Scroll. 1975. Performed in East Hampton,

New York

http://www.caroleeschneemann.com/interiorscroll.htm

Hannah Wilke. S.O.S. Starification Object Series (guns). 1974, Photo-

graph, Gelatin silver print, image and mount 40 x 27”. Los Angeles

County Museum of Contemporary Art, California

http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record&id=151532&type=101

Joan Jonas. Organic Honey's Visual Telepathy. 1972. Video/black and white

with sound, 23 min. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2930&page_number=2&template_id=1&sort_order=1

Eleanor Antin. The Adventures of a Nurse. 1976. Video (sound and

color), 65 min. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A8183&page_number=3&template_id=1&sort_order=1

Ana Mendieta. Silueta. 1976-78. Color photograph of earth/body

work, carved earth, Old Man’s Creek, Iowa City, Iowa, from the series

Silueta in Iowa and Oaxaca, Mexico, 20 x 13 ¼”.

Art Gallery of New South Wales, Sydney, Australia

http://collection.artgallery.nsw.gov.au/collection/search.do?keyword-0=MLETTER&sort=user_sym_34&browse=western%2Fcontemporary%2Fbrowse&field-0=user_sym_39&bool-0=AND&images=true&field-1=user_sym_41&bool-1=AND&dept=western%2Fcontemporary&field-2=user_sym_41&bool-2=AND&value-1=Western+Art%2FContemporary%2FPhotography

Nancy Spero. Torture of Women. 1976. Handprinting and typewriter collage

on paper, 14 panels totalling 1 2/3 x 125'. National Gallery of Canada,

Ottawa, Ontario

http://images.google.com/imgres?imgurl=http://www.pbs.org/art21/slideshow/artists/s/spero-005.jpg&imgrefurl=http://www.pbs.org/art21/slideshow/%3Fslide%3D1844%26artindex%3D187&usg=__2_9Ky0Kj2R4F67zSCf59VAUZGvM=&h=302&w=864&sz=38&hl=en&start=1&um=1&tbnid=P8SO4sfm5WWSpM:&tbnh=51&tbnw=145&prev=/images%3Fq%3DNancy%2BSpero,%2B%2522Torture%2Bof%2BWomen%2522%26hl%3Den%26rls%3Dgm%26sourceid%3Dgmail%26sa%3DN%26um%3D1

May Stevens. Rosa Luxemburg. 1977. Xerography and photo-collage

with text, 28 3/8 x 24”. New Mexico Museum of Fine Art, Santa Fe

http://www.museumofnewmexico.org/mfa/ideaphotographic/cgi-bin/display.php?img=stevens.jpg

Ida Abplebroog. The Sweet Smell of Sage Enters the Room. 1979. Ink on

vellum coated with Rhoplex, 11 ½ x 9”. Brooklyn Museum

http://www.brooklynmuseum.org/opencollection/objects/5170/Sweet_Smell_of_Sage_Enters_the_Room

Mary Frank. Untitled. 1967. Clay, 6 ½ x 10 3/8 x 10 1/8”. Hirshhorn Museum

and Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=7163

May Wilson. Untitled (Ridiculous Portrait), 1966-69. Collage

http://www.warholstars.org/andywarhol/articles/maywilson/maywilson.html

Ree Morton. Of Previous Dissipations. 1974. Oil on wood with celastic,

41” x 6’7/8” x 6 ½”. The Museum of Modern Art, New York

https://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4114&page_number=5&template_id=1&sort_order=1&artistFilterInitial=I

Cynthia Carlson. Homage to the Academy Building. 1979. Latex,

acrylic, spray enamel, charcoal, masonite, 17’ x 39’5” x 25’7”.

Installation at The Pennsylvania Academy of the Fine Arts,

Philadelphia

http://www.inliquid.com/commentary/stein/tributeMG.php

Joyce Kozloff. Hidden Chambers. 1975-76. Acrylic on canvas, 72 ½ x 120”.

Collection Francoise and Harvey Rambach

http://www.artnet.com/magazineus/features/spivy/spivy1-9-08_detail.asp?picnum=8

Valerie Jaudon. Jackson. 1976. Metallic pigment in polymer emulsion

and pencil on canvas, 72 1/8 x 72 1/8”. Hirshhorn Museum and

Sculpture Garden, Washington D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=8522

Robert Kushner. Biarritz from The Persian Line: Part II, 1975. Acrylic

on cotton, synthetic brocade and fringe, 74 x 86 3/16”. Collection of

the artist

http://www.artnet.com/usernet/awc/awc_thumbnail.asp?aid=424216479&gid=424216479&works_of_art=1&cid=79724&page=2

Jane Kaufman. 4 Panel Screen. 1984. Coquille Feathers and glass beads, 79 x 31”. Collection of the artist

http://books.google.com/books?id=VVIVs1GBGHIC&pg=RA1-PA12&lpg=RA1-PA12&dq=Jane+Kaufman,+4+panel+screen&source=bl&ots=LzBsgzH7Ni&sig=u8926fdHNSsjApMg0s5mbq3q13Y&hl=en&ei=BP15SqaVEpLeMdHBjKMO&sa=X&oi=book_result&ct=result&resnum=3#v=onepage&q=Jane%20Kaufman%2C%204%20panel%20screen&f=false

Thomas Lanigan-Schmidt. Panis Angelicus. 1970-87. Mixed-media

installation with monstrance, candle-sticks and altar cloth, 7 x 6 x 3

½’. Groninger Museum, The Netherlands

http://translate.google.com/translate?hl=en&sl=nl&u=http://www.groningermuseum.nl/index.php%3Fid%3D1445&ei=SAN6SuOyLN6ntgey-NSWCQ&sa=X&oi=translate&resnum=1&ct=result&prev=/search%3Fq%3DThomas%2BLanigan-Schmidt,%2B%2522Panis%2BAngelicus%2522%26hl%3Den%26rls%3Dgm%26sourceid%3Dgmail%26sa%3DG

Kim MacConnel. Red Lantern. 1975. Acrylic on sewn cotton (bed sheets), 80

¼ x 105 1/2”. Museum of Contemporary Art, San Diego

http://popartmachine.com/item/pop_art/MCAS-MCAS.002CS036/KIM-MACCONNEL-RED-LANTERN-1975

Tina Girouard. Food restaurant and Statues-Documenta, 1977. 1979. Color

photoraph, 18 ¾ x 29 1/12”

http://www.artinfo.com/news/enlarged_image/24688/15488/

http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=E02441402B50D8C6F1DDA1062D2C0E63

Patsy Norvell. Glass Garden. 1979-80. Sandblasted glass, wooden frame, paint, 7 1/2 x 8 ½ x 7'10”. Brooklyn Museum

http://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/584.1729.jpg

Judy Pfaff. Deepwater. 1980. Site specific installation, Holly Solomon

Gallery, New York.

http://www.judypfaff.org/gallery/album60/1_G

Donna Dennis. Station Hotel. 1973-74. Acrylic and enamel, graphite on wood

metal, fluorescent and incandescent lights and acrylic, 75 x 72 x 13 1/2”.

Walker Art Center, Minneapolis, Minnesota

http://www.donnadennisart.com/17.htm

Philip Guston. The Street. 1977. Oil on canvas, 69 x 110 3/4”. Metropoltan

Museum of Art, New York

http://www.metmuseum.org/works_of_art/collection_database/modern_art/the_street_philip_guston/objectview_enlarge.aspx?page=3&sort=0&sortdir=asc&keyword=&fp=1&dd1=21&dd2=0&vw=1&collID=21&OID=210002939&vT=1

Hans Haacke. Shapolsky et al. Manhattan Real Estate Holdings—A Real

Time Social System As of May 1, 1971. 1971. Photographs, data sheets,

charts, dimensions variable

http://slavin.tumblr.com/post/125874495/hans-haacke-shapolsky-et-al-manhattan-real

Gordon Matta-Clark. Splitting. 1974. Gelatin silver print, 16 x 20”. San

Francisco Museum of Modern Art

http://www.sfmoma.org/artwork/107491

Scott Burton. Bronze Chair. 1979. Bronze, 44 1/8 x 21 ½ x 22 ½”.

Allen Memorial Art Museum, Oberlin, Ohio

http://www.oberlin.edu/amam/Burton_Chair.htm

Joel Shapiro. Untitled (House). 1975. Cast iron, 7 ½ x 10 ¼ x 8 ½”. The

Museum of Contemporary Art, Los Angeles

http://moca-la.org/museum/pc_artwork_detail.php?acsnum=85.86&keywords=Joel%20Shapiro&x=0&y=0&

Bryan Hunt. Shift Falls. 1978. Bronze with black patina, 117 x 13 3/8 x

8”. The Pulitzer Foundation for the Arts, St. Louis, Missouri

http://water.pulitzerarts.org/artist-statements/hunt/

Brice Marden. Grove IV. 1976. Oil and wax on canvas, 72 x 108”. Solomon

R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Brice%20Marden&page=1&f=People&cr=2

Elizabeth Murray. Children Meeting. 1978. Oil on canvas, 101 3/16 x 127”.

Whitney Museum of American Art, New York

http://home.att.net/~artarchives/whitney/americancent2.html

Jennifer Bartlett. Rhapsody. 1975-76. 987 steel plates, 12 x 12” each, overall

approximately 7'6” x 153'. The Museum of Modern Art, New York

http://www.artnet.com/magazineus/features/kuspit/kuspit11-10-06_detail.asp?picnum=7

Susan Rothenberg. Red Banner. 1979. Acrylic on canvas, 90 x 123

7/8”. The Museum of Fine Art, Houston, Texas

http://www.mfah.org/collection.asp?par1=11&par2=&par3=40&par6=3&par4=211&lgc=4&currentPage=3

Neil Jenney. Swimmer and Reflection. 1970. Oil on canvas, 73 ½ x

52 1/2”. Virginia Museum of Fine Arts, Richmond

http://www.vmfa.state.va.us/collections/85_409.html

H. C. Westerman. The Jazz Singer. c. 1953. Oil on canvas with artist-

painted frame, 42 x 32”. The Contemporary Museum, Honolulu
http://www.tcmhi.org/exhibits/hcwestermann/JazzSinger72.jpg

Gladys Nilsson. Pink Suit #2. 1966. Watercolor over graphite on off-white

wove paper, 16 x 10”. The Art Institute of Chicago

http://www.artic.edu/aic/collections/artwork/155468

Jim Nutt. Toot and Toe. 1969. Acrylic on Plexiglas, reverse painting,

60 x 39”. Madison Museum of Contemporary Art, Wisconsin

http://www.mmoca.org/mmocacollects/show_full_image.php?id=4

Roger Brown. Autobiography in the Shape of Alabama (Mammy’s Door).

1974. Oil on canvas with mirror, wood, Plexiglas, photographs

post cards and cloth shirt, 89 ¾ x 48 ¾ x 18”. Museum of

Contemporary Art, Chicago.

http://www.mcachicago.org/exhibitions/work_detail.php?id=17&artname=&page=

Ed Paschke. Fifi. 1973. Oil on canvas, 50 1/8 x 60 ¼”. Hirshhorn

Museum and Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=2753

Robert Lostutter. Map to the morning dance. 1972. Oil on canvas, 53 x 36”

http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=E539C113F30D2723F3F477AADFC183DE

Hollis Sigler. There’s More – All Good Reasons to See What’s in Store

For You. 1980. Oil on canvas in artist’s frame, 43 ¼ x 61 ¼”.

The David and Alfred Smart Museum, University of Chicago

http://www1.lib.uchicago.edu/cgi-bin/efts/smart/display.image.pl?accession=1983.40

Chapter 6.

Julian Schnabel. Owl. 1980. Oil, plates and auto-body filler on wood,

96 x 84 x 12”. The Museum of Contemporary Art, Los Angeles

http://moca-la.org/museum/pc_artwork_detail.php?acsnum=85.83&keywords=Julian%20Schnabel&x=0&y=0&

Julian Schnabel. Exile. 1980. Oil, antlers, gold leaf and mixed media on

wood. 90 x 120”.

http://www.brunobischofberger.com/newacqIII.htm

David Salle. Sextant in Dogtown. 1987. Oil and synthetic polymer

on canvas. 96 3/16 x 126 ¼”. Whitney Museum of American Art,

New York

http://www.whitney.org/www/american_voices/270/index.html

Eric Fischl. Bad Boy. 1981. Oil on canvas, 66 x 90”. Private collection, Zurich

Switzerland

http://www.ericfischl.com/paintings/early_paintings_1/html/81_023.html

Georg Baselitz. Adieu. 1982. Oil on canvas, 98 3/8 x 118 3/16”. Tate

Gallery, London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=754&searchid=10361&tabview=image

Anselm Kiefer. Das Buch (The Book). 1979-85. Oil, lead, photographic paper,

straw and fabric on canvas, 130 x 217 5/8” Hirshhorn Museum and

Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/85.27.jpg

Francesco Clemente. Self-Portrait. 1984. Color woodcut, 14 x 20”. State

Museums of Berlin

http://www.smb.spk-berlin.de/kk/vg/s3.html

Allan McCollum. 40 Plaster Surrogates. 1982-90. Enamel on hydrocal, overall

85 ¾ x 147 1/4”. Hirshhorn Museum and Sculpture Garden, Washington,

D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/90.22.jpg

Peter Halley. Two Cells with Conduit. 1987. Day-Glo, acrylic and

Roll-a-Tex on canvas, 2 panels, overall 78 x 154 3/4” overall. Solomon

R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Neo-Conceptualism&page=1&f=Movement&cr=3

Haim Steinbach. Ultra red #2. 1986. Wood, plastic laminates, four

Lava lamps, nine enamel pots and six digital clocks, 67 x 76 x 19”.

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=ultra%20red%20%232&page=&f=Title&object=88.3619

Robert Gober. Three Parts of an X. 1985. Plaster, wood, wire lath, steel and

semi-gloss enamel paint, 81 7/8 x 82 5/16 x 26”. Hirshhorn Museum and

Sculpture Garden, Washington, D.C.

http://hirshhorn.si.edu/dynamic/collection_images/full/93.16.jpg

Mike Bidlo. 'Not Pollock (Study for No. 1, 1950). 1983. Oil and enamel on

canvas, 36 x 60 1/4”

http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5143507

Sherrie Levine. After Walker Evans. 1981. Gelatin silver print, 7 2/3 x 9

2/3”. Museum Ludwig, Cologne

http://translate.google.com/translate?langpair=de|

Cindy Sherman. Untitled #96. 1981. Chromogenic color print, 23 15/16 x 47

15//16”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5392&page_number=10&template_id=1&sort_order=1

Christy Rupp. Social Progress. 1986. Steel and design cast, 7 x 18 x

25’. Collection of the artist

http://www.christyrupp.com/env_sculpt.html

Dondi (Donald J. White). Subway cars, early to mid eighties

http://www.graffiti.org/dondi/subway.html

Crash (John Matos). Exterior of Fashion Moda, 1982.

http://www.lehman.edu/vpadvance/artgallery/gallery/talkback/fashionmoda.html

Keith Haring. Crack is Wack. 1986. Handball court, West 128^th Street

& 2^nd Avenue, New York City

http://keithharing.net/cgi-bin/art_lrg.cgi?date=1986&genre=Public%20Projects&id=00108

Jean-Michel Basquiat. Flexible. 1984. Acrylic and oil on wood, c. 100 x 50”.

Estate of the artist

http://www.brooklynmuseum.org/exhibitions/basquiat/flexible.php

David Wojnarowicz. Untitled from Sex Series (For Marion Scemama). 1988-89.

from a series of eight gelatin silver prints, 31 x 34 1/4”.

http://www.queer-arts.org/archive/9902/wojnarowicz/wojnarowicz2.html

John Ahearn and Rigoberto Torres. Life on Dawson Street. 1982. Dawson

Street and Longwood Avenue, New York I

http://www.terminartors.com/ahearn-john/life-on-dawson-street-with-6354-p

Tim Rollins & KOS. Amerika I. 1984-85. Oil, paint stick, acrylic, china

marker and pencil on book pages on rag paper mounted on canvas,

71 ½ x 177.” Collection of the Chase Manhattan Bank, New York

http://www.diacenter.org/exhibs/rollins/amerika/

Justen Ladda. The Thing. 1981. Pigmented shellac on seats, latex and

tempera paint on seat backs and wall. P.S. 37, The Bronx, New York

http://www.justenladda.com/pages/pages%20installations/TheThing1.html

Jimmie Durham. Self-Portrait. 1986. Mixed media, 78 x 32 x 5”. Collection

of the artist

http://www.eng.fju.edu.tw/Literary_Criticism/postmodernism/post_colonial/example/aboriginal.htm

James Luna. The Artifact Piece. 1987. Performance piece. The Museum of

Man, San Diego, California

http://www.english.emory.edu/Bahri/Luna.html

John Coplans. Self-Portrait Three Times. 1987. Polaroid/gelatin silver print,

3 ½ x 4 1/2”. J. Paul Getty Museum, Los Angeles

http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=112256&handle=li

Tehching Hseih. Cage Piece. 1978-79. One of One Year Performances, 1978-

86.

http://www.moma.org/visit/calendar/exhibitions/322

Tseng Kwong Chi. Disneyland, California. 1979. Silver gelatin print,

36 x 36”.

http://www.lunacommons.org/luna/servlet/view/all/who/Tseng,+Kwong+Chi/what/Silver+print/

Margo Machida. Self Portrait as Yukio Mushima. 1986. Acrylic on canvas

http://www.csupomona.edu/~plin/women2/images/machida_big.jpg

Whitfield Lovell. Grandma's Dress. 1990. Oil stick and charcoal on paper,

67 x 50”

http://books.google.com/books?id=ji1Mrm2PWNwC&pg=PA49&lpg=PA49&dq=Whitfield+Lovell,+Grandma%27s+Dress%22&source=bl&ots=LfScKf3rIt&sig=SW_YBrqkP_oAxAUx7pkGG0Ib6d8&hl=en&ei=Tt19SqKpJJqltgfXi7XcAQ&sa=X&oi=book_result&ct=result&resnum=1#v=onepage&q=Whitfield%20Lovell%2C%20Grandma%27s%20Dress%22&f=false

Kathleen McCarthy. Five Points of Observation. Wire mesh sculpture in

platform windscreens, 111^th Street - 104^th Street, Cypress Hills, New York

http://www.mta.info/mta/aft/permanentart/permart.html?agency=nyct&line=J&artist=1&station=2

Clarissa Sligh. What's Happening with Momma? 1988. Accordian book

silkscreen with acrylic ink on Coventr paper, 27 ¾ x 15 1/6 x 3 2/3”.

Produced at Women's Studio Workshop, Rosendale, New York

http://www.centerforbookarts.org/exhibits/USA/sligh.html

Vincent Smith. Ko-Ko. Monotype oil on paper, 22 x 30”. N'Namdi Gallery,

New York

http://www.grnnamdi.com/dynamic/artwork_display.asp?ArtworkID=856

Camille Billops. Finding Christa. 1991. Film, 55 min.

http://www.bombsite.com/issues/40/articles/1558

Tomei Arai. Laundryman’s Daughter. 1988. Color silkscreen, 29 x 20”.

Library of Congress, Washington, D.C.

http://blog.inikoa.com/?p=52

Luis Jimenez. Border Crossing. 1989. Fiberglass with urethane finish, 127 x 34 x 54”. Iowa State University, Ames

http://www.museums.iastate.edu/AOCFactSheetsPDF/New%20Fact%20Sheet%2009/Border%20Crossing.pdf

Rolando Briseno. The Annunciation. 1989. Acrylic and oil on wood, 96 x 116”.

Collection of the artist

http://www.rolandobriseno.net/paintandsculpt.html

Judy Baca. Great Wall of Los Angeles. 1974-2003. Acrylic on cast concrete, 13 x 2400'. Los Angeles, California

http://www.judybaca.com/now/index.php?option=com_content&view=article&id=100:sustaining-sites-of-public-memory-by-judith-f-baca-from-public-art-review-&catid=34:publications&Itemid=67

Pepon Osorio. The Bicycle. 1985. Mixed media, 42 x 60 x 24”.

http://auca150art.com/PeponOsorio.aspx

Martin Wong. Stripped Trans Am at Avenue C and 5^th Street. 1984. Acrylic on

canvas, 48 x 92” Estate of the artist, PPOW Gallery, New York

http://www.ppowgallery.com/selected_work.php?artist=25&image=2

Michael Kelly Williams. Afternoon of a Georgia Faun. 1985. Woodcut print

http://negroartist.com/negro%20artist/N/MICHAEL%20KELLY%20WILLIAMS/pages/Afternoon%20of%20a%20Georgia%20Faun_jpg.htm

Beverly Buchanan. Ferry Road Shacks and North Georgia Shacks. 1988.

Oil pastel on paper, two painted foamcore shacks, Ferry Road 38 ½ x 50”,

North Georgia, 17 ¾ x 18 ½ x 15 3/4”

http://www.artnet.com/artwork/425951924/424096463/beverly-buchanan-ferry-road-shacks-and-north-georgia-shacks.html

art@beverlybuchanan.com

Noah Jemisin. Shrine to Self-Pity. 1982. Gesso and encaustic on canvas with

wood frame and candles, 47 ½ x 30 1/2”. Collection of the artist

http://www.nyfa.org/nyfa_artists_work.asp?pid=500&num=1

Peter Gourfain. Roundabout. 1976-81. Yellow pine and terracotta, 108'

height x 264' diameter. (contact artist)

http://www.brooklynmuseum.org/opencollection/exhibitions/1021/

Eva Cockcroft and Artmakers. La Lucha Continua/The Struggle Continue.

1985. Oil and tar on concarete, 30 x 40'. East 8^th Street, Avenue C and

East 9^th Street, New York

http://www.artmakersnyc.org/index.php?option=com_content&view=article&id=53&Itemid=84 New York

Kay Miller. The Journey. Oil, wood and rhinestones, 48 x x 2” Collection of

the artist

https://artistsregister.com/artist_image.phtml?slideId=12855&backlink=artists&number=CO788

Emma Amos. Sand Tan. c. 1980. Etching and Aquatint. The Library of

Congress, Washington, D.C.

http://www.loc.gov/exhibits/blackburn/images/bla53a-02408r.jpg

Harry Fonseca. Shuffle Off to Buffalo. 1987. Mixed media on canvas.

http://www.britesites.com/native_artist_interviews/hf8.htm

David Hammons. Higher Goals. Installation, 1982, 1986 and 1990. Basketball

hoops, bottle caps and mixed media, 40' height.

http://books.google.com/books?id=zsE6nE5ELVkC&pg=PA72&lpg=PA72&dq=David+Hammons,+basketball&source=bl&ots=i3Wejn8IiP&sig=-q0YdUKe9rQ5k4deP2u8yynhPW0&hl=en&ei=7j2ASo3IMoKltgeG8MCcBQ&sa=X&oi=book_result&ct=result&resnum=1#v=onepage&q=David%20Hammons%2C%20basketball&f=false

Lorna Simpson. Untitled (2 Necklines). 1989. Two gelatin silver

prints and eleven engraved plastic plaques, photos 36” each, overall 40 x

100”. National Gallery of Art, Washington, D.C.

http://www.thecityreview.com/lsimpson.html

Carrie Mae Weems. Mirror, Mirror. 1987. Gelatin silver print,

17 ½ x 15 1/3”. Fotomuseum Wintertur, Switzerland

http://fotomuseum.ch/index.php?id=302&L=1&artist_id=10153

Coreen Simpson. Brother from Another Plantation. 1984.

Hand-painted color C print, 40 x 60”.

http://dcl.umn.edu/dcl/show_details?page=50&search=per_page%3D60%26q%3Dv_Younger_brother_then_walks_away%2Bo_full%2Bf_search_cache_title%26s%3Df_search_cache_title%2Br_DESC%26page%3D50

Judith Shea. Between Thought and Feeling. 1988. Bronze and cast stone, 62

½ x 34 ¼ 42 1/2”. Neuman Museum of Contemporary Art, Johnson

County Community College, Overland Park, Kansas

http://gallery.jccc.net/collection/sculpture/?id=158

Magdalena Abakanowicz. Backs. 1976-80. Burlap and resin, lifesize 24-27 x

20-22 x 22-26”. Museum of Modern Art, Pusan, South Korea

http://www.abakanowicz.art.pl/backs/BacksinCanada.php

Ronald Gonzalez. Tunnels. 1997. Mixed media, 7 x 20 x 20'. Installed

State University of New York, Purchase

http://64.124.30.150/html/Detail.asp?WorkInvNum=2135&whatpage=artist

Daisy Youngblood. Lower Nile Cow. 1979. Low fire clay, 12 x 11 x 2”. Private

collection

http://mckeegallery.com/nggallery/page-626/page/488/

Michael Lucero. Pond Dreamer. 1985. Glazed earthenware, 31 ½ x 29

½ x 21 3/4” Smithsonian American Art Museum, Washington, D.C.

http://americanart.si.edu/collections/search/artwork/?id=35763

Richard Hambleton. Shadow Man. 1982. East Village, New York. Photographs

by Hank O'Neal

http://www.hankonealphoto.com/shadowman.html

Robert Longo. Untitled (Men in the City Series: Eric). 1981.

Charcoal and graphite, 96 x 60”. The Museum of Contemporary

Art, Los Angeles

http://moca-la.org/museum/pc_artwork_detail.php?acsnum=91.21&keywords=Robert%20Longo&x=0&y=0&

Jonathan Borofsky. Hammering Man. 1983. Painted wood and electric motor,

216” height. Los Angeles County Museum of Art

http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=image;hex=M83_167.jpg

Jonathan Borofsky. The Ballerina Clown. 2008 (small version installed Paula

Cooper Gallery, New York in 1983). Aluminum, steel, painted fiberglass

and electric motor (operating kicking leg) 30'. Venice, California

http://www.borofsky.com/index.php?album=ballerinaclown

Ellen Phelan. Applause. 1985. Gouache on paper, 22 ½ x 191/2”

http://www.umass.edu/fac/calendar/universitygallery/events/EllenPhelan.html

Sandy Skoglund Revenge of the Goldfish. 1981. Ceramic fish,

furniture and live models, c. 27 ½ x 35”. Smith College Museum of Art,

Northampton, Massachusetts

http://www.iit.edu/~villjac/revence%20of%20goldfish.jpg

Max Coyer. Sacred Monster. 1985. Oil on canvas, 72 x 60”. Estate of the

artist

http://maxcoyer.com/allslides/Opium/SacredMonster.jpg

Bill Jensen. Guy in the Dune. 1979. Oil on linen, 36 x 24”. Cheim and Read

Gallery, New York

http://www.brooklynrail.org/2007/02/art/bill-jensen

Louise Fishman. Elegy for Tony K. 1989. Oil on linen, 50 x 65”.

http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=C025915411475111

Tom Nozkowski. Untitled. 1983. Oil on canvas, 16 x 20”. Collection of Bill

Katz, New York

http://www.brooklynrail.org/2008/03/artseen/thomas-nozkowski-paintings

Jake Berthot. Untitled. 1981. Oil on linen, 32 x 24”

http://www.renaissancesociety.org/site/Exhibitions/Images.The-Meditative-Surface.128.3048.html

Terry Winters. Double Gravity. 1984. Oil on linen, 80 x 104”. The Museum of

Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6408&page_number=9&template_id=1&sort_order=1

Carole Seborovski. Cross Shape – Valley. 1986. Graphite on paper, 19 5/8 x

25 5/8”.

http://www.seborovski.com/early_drawings_thumbs.html

Sean Scully. Catherine. 1982. Oil on canvas, 114 x 97 3/4”. Modern Art

Museum, Fort Worth, Texas

http://themodern.org/f_html/scully.html

Helen Oji. A. 1980. Acrylic, Rhoplex, glitter on paper, 60 x 72”. Collection

Home Insurance Company, New York

http://wwwf.countryday.net/FacStf/us/hausmanl/Scholastic%20Art%20Magazine/VanGogh%20-%20line.pdf

Anna Kuo. Michael's Light. 1983. Oil on linen, 50 x 40”.

http://artasiamerica.org/works/5193/191

Rebecca Purdum. Hold On. 1984. Oil on canvas, 60 x 84”. http://www.adambaumgoldgallery.com/

Emmi Whitehorse. Kin nah' zin', 1984. Mixed media on paper, 27 ½ x

39 ½”.

http://weeklywire.com/ww/12-01-97/tw_review1.html

Paloma Cernuda. In My Father's Room. 1984-85. Charcoal on paper, 60 x 42”.

http://auction.igavel.com/Bidding.taf?_function=detail&dir=p&Auction_uid1=574310#Image1

Jaune Quick-to-See Smith. Tree of Life. 1987. Oil on canvas, 66 x 48”.

Jersey City Museum, New Jersey

http://www.jerseycitymuseum.org/imgdtl.cfm?imageid=218&cid=31

Kay WalkingStick. The Abyss. 1989. Acrylic and wax, oil on canvas, oil on canvas, 36 x 72 x 3 1/2”. Collection of the artist

http://www.kaywalkingstick.com/art/canvas_3_new.htm#

Fred Sandback. Untitled (Sculptural Study Three-part Corner Construction)

1981. Acrylic yarn, 121 x 58”. Los Angeles County Museum of Art

http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=154810;type=101

Richard Nonas. Razor-Blade. 1977. Steel, 6 x 96 x 102”. Walker Art Center,

Minneapolis

http://collections.walkerart.org/item/object/707

William Tucker. Building a Wall in the Air. 1978. Mild steel, 119 x 87 x 15”.

Nasher Sculpture Center, Dallas, Texas

http://www.nashersculpturecenter.org/object.aspx?ObjectID=246

Mia Westerlund-Roosen. Maquette for Rumors. 1991. Ceramic, encaustic,

4 ½ x 4 5/8 x 3 1/2”. (Model for larger concrete and steel sculpture at

Storm King Sculpture Center, New York)

http://www.hawaii.edu/artgallery/8th_shoebox/artists/pages/Roosen.html

Beverly Pepper. Silent Presence. 1982. Cast brass, bronze, 108” height, 7”

diameter. De cordova Museum and Sculpture Park, Lincoln, Massachusetts

Grounds for Sculpture, Hamilton, New Jersey

http://www.decordova.org/decordova/sculp_park/pepper.html

Kit Yin Snyder Sicily Remembered. 1985. Wire mesh. Atlanta, Georgia

http://www.kityinsnyder.com/id8.html

John Duff. Green Curved Wedge. 1983. Fiberglass, 74 1/6 x 11 ½ x 14 1/2”

http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=03B08D8BADD63592

Sidney Buchanan. Several early sculptures & Step Ladder with Chair. 2009.

Chairs, ladders, paint. Collection of the artist

http://www.netnebraska.org/extras/statewide/pers/Buchanan.html

http://media.collegepublisher.com/media/paper968/stills/k2v5483j.jpg

Donald Lipski. The West. 1987. Painted steel, corroded copper pennies and

silicone adhesive, each sphere, 60 “ diameter, University of Wisconsin,

Madison

http://landmarks.utexas.edu/artistdetail/lipski_donald

Christopher Wilmarth. Moment. 1984-86. Bronze, steel, glass, 94 x 36 x 71”.

Kemper Museum of Contemporary Art, Kansas City, Missouri

http://www.kemperart.org/permanent/works/Wilmarth.asp#

Petah Coyne. “Above and Beneath the Skin,” Installation view, 19 year

retrospective showing pieces from the 1980s. 2005. Sculpture Center,

New York

http://www.sculpture-center.org/exhibitionsExhibition.htm?id=10108

Maren Hassinger. Interlock. 1984. Braided steel, 91 x 34”. California African

American Museum, Los Angeles

http://trio.caamuseum.org/itemdetail.asp?ekey=281&current_record=32&whereclause=where+ekey%3D281&cat=exhibition&searchdesc=Exhibition%3A+Selected+Pieces+From+the+Permanent+Collection

Martin Puryear. Vault. 1984. Wood, wire mesh and Tar, 66

x 97 x 48”. Museum of Contemporary Art, San Diego, California

http://www.mcasd.org/collection/permcol/artists/puryear.html

Betye Saar. House of Ancient Memory. 1989. Wood, plastic, mirrors,

embroidered fabric, feathers, metal, glass perfume bottles, painted and

lacquered wood table. Walker Art Center, Minneapolis, Minnesota

http://collections.walkerart.org/item/enlarge_fs.html?type=object&id=6591&image_num=1

Alison Saar. Untitled figure from the installation Crossroads. 1989. Wood and

mixed media, 72 x 18 x 16”. Virginia Museum of Fine Art, Richmond

http://www.vmfa.state.va.us/collections/92_233.html

Agnes Denes. Wheatfield. 1982

http://chelseaartmuseum.org/exhibits/2004/agnesdenes/gallery/index.html

Dennis Adams with Nicholas Goldsmith, architect. Podium for Dissent. 1985.

Installation Battery Park landfill, New York

http://www.creativetime.org/programs/archive/1985/Art_beach7/ArtBeach85PopUp3.html

Arthur Weyhe. Untitled. 1980. Spruce poles, 20 x 25 x 20'.

http://artistswoods.com/images/SS81WeyheUntitled1980.jpg

Richard Serra. Tilted Arc. 1981. Steel, 12 x 120'. Installed Federal Plaza, New York

(destroyed)

http://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/tiltedarc_a.html

Krystof Wodiczko. Public Projection at the Hirshhorn Museum and Sculpture

Garden. 1988.

http://www.pbs.org/art21/artists/wodiczko/index.html#

John Outterbridge. Deja Vu-do, Ethnic Heritage Group. c.1979-92. Mixed

media, 67 x 13 ½ x 9”. Collection of the artist.

http://www.netropolitan.org/outterbridge/79-92_deja_vu_do.html

Noah Purifoy. Joshua Tree Environment, begun 1989. Mixed Media. Various works. Joshua Tree, California

http://www.noahpurifoy.com/foundation/joshuatreeenvironment.html

Mel Edwards. Resolved. 1986. Welded steel. The Newark Museum, New

Jersey.

http://www.newarkmuseum.org/museum_default_page.aspx?id=1562

Alfredo Jaar. Gold in the Morning. 1985-87. Installation including C-print

photo, 30 x 20”; lightbox with color transparency 12 x 18 x 5” ; metal

boxes, gilded frames, nails, overall dimensions variable

http://www.pbs.org/art21/slideshow/?slide=1514&artindex=179

http://www.artnet.com/artwork/425946560/424021068/alfredo-jaar-gold-in-the-morning-series.html

http://www.artnet.com/artwork/425599320/179379/gold-in-the-morning.html

Antonio Muntadas. Media Hostages. 1985. Video (color and sound), 6:24 min.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A7676&page_number=8&template_id=1&sort_order=1

Luis Camnitzer. Urugayan Torture. 1983/84. 35 photo etchings, each 27 ½

x 19 1/2”. Collection of the artist

http://www.universes-in-universe.de/car/documenta/11/bhf/e-camnitzer.htm

Leon Golub. Interrogation II. 1981. Acrylic on canvas, 120 x 168”. The Art

Institute of Chicago, Illinois

http://www.artic.edu/aic/collections/artwork/100250

Pat Ward Williams. Accused/Blowtorch/Padlocked. 1987. Magazine page,

silver print, film positive, window frame, paint and text

http://www.umich.edu/~ws483/pat_works.htm

Adrian Piper. Vanilla Nightmare #2. 1986. Charcoal and red crayon with

erasing on tan wove paper (newsprint), 23 ½ x27 1/2”. The Art Institute

of Chicago, Illinois

http://www.artic.edu/aic/collections/artwork/119340

Guerrilla Girls. “Do women have to be naked to get into the Met. Museum?”

1989, bus poster (lease eventually canceled), New York

http://www.guerrillagirls.com/posters/getnaked.shtml

Edgar Heap of Birds. Reclaim New York. 1988. Aluminum sign, 61 ½ x 36”.

Installed City Hall Park, New York

http://www.heapofbirds.com/hachivi_edgar_heap_of_birds.htm

Jenny Holzer. Truisms. 1983. Electronic sign, 6 5/16 x 60 ½ x 4 1/4”.

Museum of Contemporary Art, Chicago.

http://www.mcachicago.org/exhibitions/work_detail.php?id=53&artname=&page=colmain

Barbara Kruger. Untitled (You Invest in the Divinity of the Masterpiece).

1982. Photostat, 71 ¾ x 45 5/8”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3266&page_number=1&template_id=1&sort_order=1

Barbara Bloom. The Reign of Narcissism. 1988. Mixed media installation,

hexagonal room, 144 x 240 x 240”. The Museum of Contemporary Art,

Los Angeles

http://moca-la.org/museum/pc_artwork_detail.php?acsnum=89.41&keywords=Barbara%20Bloom&x=0&y=0&

Faith Ringgold. Tar Beach (Part I from the Woman on a Bridge series). 1988.

Acrylic on canvas bordered with printed, painted, quilted, pieced cloth,

74 5/8 x 68 1/2”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Faith%20Ringgold&page=1&f=People&cr=1

Komar and Melamid. I Saw Stalin Once When I Was a Child. 1981-82. Oil on

canvas, 72 1/8” x 54 1/4”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3206&page_number=1&template_id=1&sort_order=1

Andres Serrano. Piss Christ. 1987. Cibachrome, silicone, plexiglass, wood

frame, 60 x 40”.

http://www.artnet.com/usernet/awc/awc_workdetail.asp?aid=424202827&gid=424202827&cid=74183&wid=425106388&page=1

Robert Mapplethorpe. Thomas. 1987. Gelatin silver print, 20 x 24”. Addison

Gallery of American Art, Andover, Massachusetts

http://accessaddison.andover.edu/Obj13642?sid=8584&x=714007

Chapter 7.

Damien Hirst. The Physical Impossibility of Death in Mind of Someone Living.

1991. Shark, glass, steel, 5% formaldehyde solution, 84 x 252 x 84”. The

Steven and Alexandra Cohen Collection

http://www.whitecube.com/artists/hirst/vitrineworksl/

Jeff Koons. Puppy. 1992. Stainless steel, wood (Arolsen only), soil, geotextile

fabric, internal irrigation system, live flowering plants, 486 x 486 256”.

Installations at Arolsen 1992, Sydney 1995-96, Bil boa 1997 (permanent),

New York 2000, Private collection (permanent) 1992

http://www.jeffkoons.com/site/index.html

Matthew Barney. Cremaster 5. 1997. Silkscreened laser disc, polyester,

acrylic, velvet and sterling silver in acrylic vitrine with color 35 mm film

transferred from video with sound, 54 ½ min.

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Matthew%20Barney&page=1&f=People&cr=2

Robert Gober. Untitled. 1991. Wood, beeswax, leather, fabric and human

hair, 13 1/4 x 16 1/2 x 46 1/8”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A2199&page_number=11&template_id=1&sort_order=1

Kiki Smith. Tale. 1992. Beeswax, microcrystaline wax, pigment and papier

mache, 23 x 160 x 23”. Collection of Jeffrey Deitch

http://www.learn.columbia.edu/fa/images/medium/kc_femart_smith_k_1.jpg

Sally Mann. Popsicle Drips (from the Immediate Family series). 1985. Gelatin

silver print, 22 7/8 x 18 9/16”. The Art Institute of Chicago

http://www.artic.edu/aic/collections/artwork/184386

Nancy Brett. Our Little Secret. 1998. Oil on canvas, 30 x 30”. Collection of

the artist

http://www.nancybrett.com/aloadedbrush3.html

Catherine Opie. Self-portrait/Pervert. 1994. Chromogenic print, 40 x 30”.

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Catherine%20Opie&page=1&f=People&cr=2

Chakaia Booker. Blue Bell. 1998. Rubber tires, steel, wood frame, cl 10 x 12'.

Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio

http://www.oberlin.edu/amam/Booker_BlueBell.htm

Glenn Ligon. White #19. 1994. Oilstick, gesso and synthetic polymer paint on

canvas mounted on wood, 84 x 60”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A6902&page_number=18&template_id=1&sort_order=1

William Kentridge. History of the Main Complaint. 1996. Video with sound,

00:05:50, ed. 7/10. Solomon R. Guggenheim Museum, New York (See

also Mine on YouTube)

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=William%20Kentridge&page=1&f=People&cr=2

Willie Cole. Stowage. 1997. Woodcut, 49 9/16 x 95 1/16”. The Museum of

Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A7057&page_number=4&template_id=1&sort_order=1

Maura Sheehan. Ocean Floor. 1996. Windshield and auto glass, rubber

matting, dimensions variable.

http://www.maurasheehan.net/installations/installation1.html

Paul Wong. Burning History. 1997. Handmade paper, Xerox transfer and

paper-covered objects, 20 x 50 x 25'. Installation at the Neuberger

Museum, State University of New York at Purchase

http://artasiamerica.org/works/270/23

Barbara Broughel. Opium Works. 1994-98. Mixed media, dimensions variable.

http://www.heyokamagazine.com/HEYOKA.1.SCULPT.BROUGHEL.htm

Arthur Simms. Hemper or if I were a Bird. 1991. Rope, wood glue, paint,

ladder, objects, 96 x 48 x 27”

http://www.kbfa.com/asimms.htm#

Keith Morrison. Choc-mool. 1999. Watercolor, 30 x 40”. Collection of the

artist (?)

http://www.keithmorrison.com/images/chocmool.html

Albert Chong. Winged Desire. 1995. Gelatin silver print. Collection of the

artist

http://albertchong.com/index.php?option=com_samgallery&task=img&cat=8

Shelley Niro. Mohawks in Beehives” 1991. Hand-tinted black and white

photograph. Collection of the artist.

http://www.britesites.com/native_artist_interviews/sn27.htm

Felix Gonzalez-Torres. Untitled (Portrait of Ross). 1991. Multicolored candies

individually wrapped in cellophane, ideal weight 175#, installation

dimensions variable, c. 92 x 92 x 92”. Art Institute of Chicago.

http://www.artic.edu/aic/collections/artwork/152961

Nancy Rubins. 5,500 lbs. Of Sonny's Airplane Parts, Linda's Place 550 lbs. of

Tie-wire. 1997. Aiarplane parts, tie wire, 20 x 19 x 27'. Installation

ArtPace, San Antonio, Texas

http://www.artpace.org/aboutTheExhibition.php?axid=28&sort=artist

Cady Noland. Chainsaw Cut Cowboy Head. 1990. Silkscreen on aluminum with

rope, roll of tape and cigarette box, 60 x 60 x 19 1/4”. Museum of

Contemporary Art, Chicago

http://www.mcachicago.org/exhibitions/work_detail.php?id=100&artname=&page=colmain

Mel Chin. Revival Field. 1990-present. Color Xerox on paper, mounted on foamcore,

10 ¾ x 22 x 1/4”. Walker Art Center, Minneapolis, Minnesota

http://collections.walkerart.org/item/object/7577

http://www.satorimedia.com/fmraWeb/chin.htm

Zoe Leonard. Tree. 1997. Wood, steel and steel cables, 246 x 58 ¼ x 18”

(installation Paula Cooper Gallery, New York). Galerie Gisela Capitain,

Cologne, Germany

http://www.newmuseum.org/afternature/leonard.html

Shirin Neshat. Rapture. 1999. Two-channel, black-and-white video, sound

(projection), 13 min. loop, ed. 1/5. The Art Institute of Chicago

http://www.artic.edu/aic/collections/artwork/184206

Ann Messner. Amniotic Sea. 1999. Newspaper vending machine with

broadsides, installed at Foley Square, New York. Collection of the artist

http://www.barbarawestermann.com/livingroom/WATER/annmesner.html

Vanessa Beecroft. VB35. 1998. C print from performance/installation of 20

models in rotunda of the Solomon R. Guggenheim Museum for 3 hours, 40 x

59”. Fotomuseum Wintherthur, Zurich, Switzerland

http://fotomuseum.ch/index.php?id=302&L=1&artist_id=658

Fred Wilson. Guarded View. 1991. Four mannequins with museum guard

uniforms, mannequins, 75 x 48 x 166”. Whitney Museum of American Art,

New York

http://www.bampfa.berkeley.edu/exhibition/fred_wilson

Jessica Stockholder. Your Skin in this Weather Bourne Eye-Threads and

Swollen Perfumes. 1995. Plastic stacking crates, stuffed shirts, pillows,

papier-mache, yarn, carpet, concrete, lamps, yellow electric cords,

swimming pool liner, steel, paint and miscellaneous building materials,

dimensions variable. DIA Center, New York

http://www.diacenter.org/exhibs/stockholder/progress/

Jason Rhoades. From Swedish Erotica and Fiero Parts. 1994. Ikea

photography board with vinyl frame, resurfaced washer and dryer,

horizontal styrofoam model shelf (Judd), two contractor's doors for short-

wide use with wet toilet paper doorknobs (formed by artist), ceramic kiln/

stereo, various bisqued and glazed ceramics, fencing foils, bicycle seats,

aluminum foil grille, Malibu work light, yellow bug light; dimensions

variable. The Museum of Contemporary Art, Los Angeles

http://moca-la.org/museum/artwork_detail.php?isPermSearch=1&id=167&sname=Jason+Rhoades&sletter=6

Gary Hill. Tall Ships. 1992. 12-channel video installation (12 modified black

and white monitors with projection lenses, 12 laserdisc players and

laserdiscs, one IBM-compatible compuer with 16 RS-232 control ports and

variable length, concealed switching runners and controlling software),

dimensions variable. Collection Donald Young Gallery, Chicago

http://www.acmi.net.au/deepspace/ar_gh2.php

Tony Oursler. Glimmer. 1999. 5 fiberglass spheres, CPJ, 200 Projector,

videotape, VCR, eac sphere 18” in diameter. The Museum of

Contemporary Art, Los Angeles

http://moca-la.org/museum/pc_artwork_detail.php?acsnum=2000.66&keywords=Tony%20Oursler&x=0&y=0&

Doug Aitken. These Restless Minds. 1998. 3-channel video installation,

dimensions variable

http://www.artnet.com/magazine_pre2000/features/saltz/saltz1-8-7.asp

Polly Apfelbaum. The Dwarves without Snow White. 1992. 8 boxes

and lids, stretched crushed velvet, dye. Each 27 x 15 ½ x 3 1/2”, overall

131”. Brooklyn Museum, New York

http://www.brooklynmuseum.org/opencollection/objects/148253/The_Dwarves_w/o_Snow_White

Arturo Herrera. Three Hundred Nights. 1998. Wall painting, dimensions

variable.

http://hammer.ucla.edu/exhibitions/detail/exhibition_id/23

Gary Simmons. boom. 1996/2003. White pigment and pastel on

blackboard-paint primed panel, 125 1/8 x 208 7/8”. The Museum of

Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A7969&page_number=2&template_id=1&sort_order=1

Ellen Gallagher. Skinatural. 1997. Oil, pencil and plasticine on

magazine page, 13 ¼ x 10”. The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A7639&page_number=4&template_id=1&sort_order=1&artistFilterInitial=H

Raymond Pettibon. Exhibition at The Renaissance Society at The University

of Chicago, 1998.

http://www.renaissancesociety.org/site/Exhibitions/Images.Raymond-Pettibon.43.html

Paul McCarthy. Bossy Burger. 1991. Still from video, 50 minutes in length.

Frans Hals Museum, Haarlem, Netherlands & video from YouTube

http://www.franshalsmuseum.collectionconnection.nl/FHM/franshals_e.aspx?p=full&iFirst=1&c=zoeken&s=dateOfCreation&a=McCarthy%20Paul&w=&lp=kleine&liFirst=1

http://www.youtube.com/watch?v=5JfGtdbeuZc

Mike Kelley. Untitled. 1990. Found afghans and stuffed dolls, 6” x 245 x 52”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3045&page_number=7&template_id=1&sort_order=1

Lari Pittman. Untitled #52. 1991. Acrylic and enamel on paper, 30 x 22 1/4”.

Art Museum, University of California, Santa Barbara

http://www.uam.ucsb.edu/Pages/pittman_36.html

James Lee Byars. The Eros. 1993. Karvala marble, 7 ¾ x 33 ½ x 33 1/2”.

Museo Reina Sofia, Madrid

http://translate.google.com/translate?langpair=es|

Roni Horn. Thicket No. 2. 1990 reconstructed 1999. Aluminum and plastic, 4

½ x 26 x 144 3/4”. Tate Gallery, London

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=21801&searchid=11261&tabview=image

Ursula von Rydingsvard. Three Bowls. 1990. Cedar and graphite,

9'4” x 15'10” x 8'. The Nelson-Atkins Museum of Art, Kansas City, Kansas

http://www.nelson-atkins.org/art/CollectionDatabase.cfm?id=11119&theme=kcsp

Angiola Churchill. Winter Labyrinth. 1990s – 2006. Paper, 80 x 60 x 40”.

Collection of the artist

http://www.wavehill.org/arts/angiola_churchill.html

Ann Hamilton. tropos. 1993. Horse hair, metal desk, woman reading book

burning words, audio tape, overall 5,000 sq. ft. Installation at DIA

Foundation, New York City

http://www.pbs.org/art21/artists/hamilton/card3.html

Bing Hu. Lulu. 1998. Glass, stockings, dimensions variable.

http://artasiamerica.org/works/1210/102

Jun Kaneko. Untitled Dango. 1999. Hand built, glazed ceramics, 36 ½ x 48 x

38”

http://www.artknowledgenews.com/Jun_Kaneko_Ceramics.html

Matt Mullican Untitled. 1992. Acrylic and oil stick on canvas, 72 x 192”.

Orlando Museum of Art, Florida

http://www.omart.org/collections/american-art/matt-mullican-untitled

Frank Gehry. Guggenheim Bilbao. 1997. Steel frame, titanium sheathing.

Bilbao, Spain

http://www.greatbuildings.com/cgi-bin/gbi.cgi/Guggenheim_Bilbao.html/cid_bilbao_002.html

Richard Meier. Barcelona Museum of Contemporary Art. 1992-95. Spain

http://www.e-architect.co.uk/barcelona/jpgs/barcelona_richard_meier_6.jpg

Siah Armajani. Glass Bridge. 2003. Mixed Media. Cheekwood Art and

Gardens, Nashville, Tennessee

http://www.cheekwood.org/Art/Carell_Woodland_Sculpture_Trail.aspx

Kristin Jones and Andrew Ginzel. Metronome. 1999. New York City

http://www.nyc-architecture.com/GRP/GRP015.htm

Ming Fay. Staten Island Ferry Terminal Benches. 2005. 12 benches, granite.

New York City

http://mingfay.com/publicart/bench.html

Vito Acconci/Acconci Studio. Mur River Island. 2003. Mur, Austria

http://www.graz03.at/servlet/sls/Tornado/web/2003/content_e/8FCE673302F9BE61C1256B81005CED38

Chapter 8.

Olafur Eliasson. The New York City Waterfalls. 2008. Four sites on the East

River, dimensions variable.

http://www.publicartfund.org/pafweb/projects/08/eliasson/eliasson-08.html

Paul McCarthy. Santa Claus with a Buttplug. 2007. Inflatable balloon, 78 ¾' .

Antwerp, Belgum

http://en.wikipedia.org/wiki/File:Tierecke_mccarthy.jpg

Claudia Vieira. Garden of Delights/Architectural Topographies. 2001-present.

http://www.re-title.com/artists/Claudia-VIEIRA.asp

Jim Lambie. Zobop series, taped floor piece and sculptures, Hirshhorn Museum

lobby installation. 2007. Hirshhorn Museum and Sculpture Garden,

Washington, D.C.

http://www.smithsonianmag.com/people-places/whatsup-jul06.html

Maurizio Cattelan. La Nona Ora (The Ninth Hour). 1999. Lifesize, sculptural

installation

http://kostasvoyatzis.wordpress.com/2008/01/16/maurizio-cattelan-at-kunsthaus-bregenz-austria/

Richard Prince. Mission Nurse. 2002. Ink jet print and acrylic on canvas, 70 x

48” The Seavest Collection of Contemporary Realism, New York

http://www.artregister.com/seavest_collection/prince_nurse.html

Lucinda Devlin. Lethal Injection Chamber, Nevada State Prison,

Carson City, Nevada. 1991. Color coupler print, 20 x 20”.

Paul Rodgers/9W Gallery, New York

http://www.paulrodgers9w.com/?method=Artist.ArtDetail&ArtistID=D83F2E92-115B-5562-AAF442F1B71AA7DA&artidx=26

Marlene Dumas. Jen. 2005. Oil on canvas, 43 3/8 x 51 1/4”.

The Museum of Modern Art, New York

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A7521&page_number=10&template_id=1&sort_order=1

Rona Pondick. Dog. 1998-2001. Yellow stainless steel, 28 x 16 ½ x 32”.

Sonnabend Gallery, New York

http://www.artnet.com/Galleries/Artwork_Detail.asp?G=&gid=139120&which=&ViewArtistBy=online&aid=13635&wid=424463588&source=artist&rta=http://www.artnet.com

Banks Violette. Not Yet Titled. 2009. Installation and opening photographs,

Team Gallery, New York

http://artobserved.com/ao-on-site-banks-violettes-not-yet-titled-at-team-gallery-new-york-through-june-20th-2009/

Shaun El C. Leonardo. Steel Cage Match. 2006. Performance. Lower

Manhattan Cultural Council, New York

http://www.elcleonardo.com/press/Man%20and%20Superman_Artnet.pdf

Rachel Harrison. Nose. 2005. Wood, polystyrene, cement, acrylic, rubber,

cardboard, 76 x 30 x 18”. Saatchi Collection, London

http://www.saatchi-gallery.co.uk/artists/artpages/rachel_harrison_nose_3.htm

Sarah Sze. The Art of Losing. 2004. Installation, mixed mass-produced

objects/materials. 21^st Century Museum of Contemporary Art, Kanazawa, Japan http://www.sarahsze.com/projects/Kanazawa_2004/Kanazawa_05.html

Xu Zhen. ShanghArt Supermarket. 2007. Mixed media (cash register, counter,

shelves, refrigerator and multiple consumer products), dimensions variable

http://www.jamescohan.com/artists/xu-zhen/

Gabriel Kuri. Untitled (superama). 2003. Hand woven gobelin, 113 x 44 1/2”.

Museum of Contemporary Art, San Diego, California

http://www.mcasd.org/collection/permcol/artists/kuri.html

Urs Fisher. You. 2007. Mixed media, dimensions variable. Installation at

Gavin Brown's Enterprise, New York

http://www.gavinbrown.biz/artists/view/urs-fischer

Christoph Buchel. House Rules. 2002. Maccarone Gallery, New York. Plus

cancelled show at MASS MoCA (Massachusetts Museum of Contemporary

Art), North Adams

http://www.artnet.com/Magazine/reviews/rossi/rossi12-20-01.asp

http://www.boston.com/ae/theater_arts/articles/2007/10/21/dismantled/

Julie Mehretu. Empircal Construction, Istanbul. 2003. Ink and synthetic

ploymer on canvas, 10 x 15'. The Museum of Modern Art, New York

http://www.moma.org/collection/object.php?object_id=91778

Matthew Ritchie. The Hierarchy Problem. 2003. Multi-part installation

comprising wall drawing, rubber and Tyvek carpet, photographic light box,

and oil and marker painting, dimensions variable. Solomon R. Guggenheim

Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Matthew%20Ritchie&page=1&f=People&cr=1

Jessica Ciocci. P.E.A.C.E. 2006. Installation, Foxy Productions, New York

http://oneartworld.com/Foxy+Production/P.E.A.C.E..html

Kenneth Tin-Kin Hung. Residential Erection. 2008. Installation and

animation. Postmasters Gallery, New York

http://www.tinkin.com/

Michael Bell Smith. Lighting Affects. 2008. 3-channel video loop, dimensions

variable. Foxy Production, New York

http://www.foxyproduction.com/artist/workview/5/5593/1

Vik Munoz. Tony Smith from Pictures of Dust. 2000. Photograph on plastic, 60

x 48”. Museum of Contemporary Photography a Columbia College, Chicago

http://www.mocp.org/collections/permanent/muniz_vik.php

Gedi Sibony. Partly Me Manners. 2008. Door and paper, 88 x 24 x 4”.

Vanmoerkerke Collection, Belgium

http://www.artinfo.com/news/enlarged_image/30131/135437/

Carlos Bunga. Untitled. 2006. Pressed cardboard, wrapping tape and paint,

dimensions variable.

http://www.e-flux.com/shows/view/3807

Tom Burr. Bitch Immediately After Vinyl. 2004. Stained plywood, metal

structure, vinyl (flower), 70 7/8 x 31 1//2 x 65”. Saatchi Gallery, London

http://www.saatchi-gallery.co.uk/artists/tom_burr.htm

Shinique Smith. Bail Variant No. 011. 2005. Clothing, twine and wood,

74 x 29 x 29”.

http://www.theproposition.com/wp/overstock

China Marks. Whose Woods Are These? 2002. Fabric, thread, lace, silk-screen ink, fusible adhesive, 39 x 42”. Collection of the artist

http://www.chinamarks.net/html/whosewoods.html

Ghada Amer. Heather's Degrade. 2006. Embroidery and gel medium on

canvas, 78 x 62 1 1/2”. Brooklyn Museum, New York

http://www.brooklynmuseum.org/opencollection/objects/5129/Heathers_Degrad%C3%A9

Cyrilla Mozenter. Guardian. 2007. Pencil on industrial wool felt hand sewn

with silk thread, 13 x 4 ½ x 12 1/2”.

http://www.lesleyheller.com/artists/cyrilla_mozenter/Guardian.html

Mary Heilmann. Surfing on Acid. 2005. Oil on canvas, 60 x 48”.

Orange County Museum of Art, Newport Beach, California

http://www.ocma.net/index.html?page=past&show=exhibit&e_id=2477#

Melissa Meyer. Galvin. 2006. Oil on canvas, 66 x66”.

http://www.elizabethharrisgallery.com/meyer_galvin.html

Harriet Korman. Untitled. 2007. Oil on canvas, 36 x 30”.

http://www.lennonweinberg.com/artists/korman/korman_unique/korman_1.html

Denyse Thomasos. Hybrid Nations. 2005. Wall installation. Art Gallery of

Ontario, Canada

http://www.lennonweinberg.com/artists/thomasos/thomasos_unique/thomasos_1.html

Atta Kwami. Axis. 2007. Acrylic on linen, 19 x 19”.

http://www.howardscottgallery.com/dynamic/artwork_display.asp?ArtworkID=643

Esther Mahlangu. Blanket. 2006. Acrylic on canvas, 50 x 37 1/2”.

http://vgallery.co.za/34long/emn2.htm

Odili Donald Odita. Give Me Shelter. 2007. Acrylic latex wall paint, colored

pigment on wall, dimensions variable. 52^nd Venice Biennale International

Art Exhibition

http://www.odilidonaldodita.com/exhibitions/givemeshelter/index.html

Christopher Wool. Untitled. 2008. Enamel on linen, 126 x 96”.

http://wool735.com/cw/images/?iNum=209

Cecily Brown. Skulldiver III (Flightmask). 2006. Oil on linen, 85 x 89”.

Museum of Fine Arts, Boston

http://mfa.org/collections/search_art.asp?recview=true&id=496402&coll_keywords=&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=42539&coll_start=641

Joyce Pensato. Mickeys. 2003. Enamel on paper, 23 x 29”. Plus studio view.

http://www.petzel.com/artists/joyce-pensato/

http://www.joycepensato.com/

Elizabeth Peyton. Keith (from Gimme Shelter). 2004. Oil on board,10 x 12”.

Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Elizabeth%20Peyton&page=1&f=People&cr=1

Olav Westphalen. Desert Dreams – Cock and Awe. 2009. 45 minute

performance consisting of 10 minutes of projected imagery (found

images/materials) with music by Jonas Knudson and a 30 minute reading

of a screenplay by the artist, , Moderna Museet, Stockholm

http://www.modernamuseet.se/v4/templates/template3.asp?id=4183

Diana Al-Hadid. The Tower of Infinite Problems. 2008. Polymer gypsum,

steel, plaster, fiberglass, wood, polystyrene, cardboard, wax, paint; Part

1- 95 x 174 x 99”, Part 2 – 63 x 83 x 105”. Saatchi Gallery, London

http://www.saatchi-gallery.co.uk/artists/diana_hadid.htm

Wengechi Mutu. This you call Civilization?”. 2008. Mixed media, ink, collage,

contact paper on Mylar, 98 x 52”

http://www.vielmetter.com/index.php?site=artists&fromlink=&a_id=6. 3&detail=selectedworks&showmode=slideshow&startwork=1757&artistname

Martha Rosler. Red Stripe Kitchen from the series Bringing the War Home:

House Beautiful. 1962-67. Photomontage printed as color photo, 24 x

20”. Solomon R. Guggenheim Museum, New York

http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Martha%20Rosler&page=1&f=People&cr=1

Martha Rosler. Hooded Captives from the series Bringing the War Home:

House Beautiful. 2004-2005. C print, 20 x 16”. Fotomuseum Winterthur,

Switzerland

http://fotomuseum.ch/index.php?id=302&L=1&artist_id=8121

Mark Andre Robinson. Myth Monolith (Liberation Movement). 2007. Found

wood objects, 132 x 168 x 84”

http://www.lmcc.net/art/residencies/workspace/2008/robinson/images/Robinson_Marc-4.jpg

Yin Xiuzhen. Flying Machine. 2008. Tractor, automobile, airplane, steel,

clothing, 12 x 52 x 40'. Shangahi 2008 Biennial

http://www.shanghaibiennale.org/upload/files/19-09-08/yin%20xiuzhen.jpg

Abraham Cruzvillegas. Menu in Progress. 2005. Set of 60 boxes, acrylic paint

on cardboard, wood, paper, plastic and polystyrene, maximum size 23 2/3

x 15 ¾ x 15 ¾, minimum size 4 ¾ x 2 ¾ x 1 1/2”.

http://www.kurimanzutto.com/english/artists/abraham-cruzvillegas.html

Takashi Horisaki. Social Dress New Orleans – 730 Days After. 2007. Latex,

cheesecloth, remnants of Katrina-damaged house, steel pipe, steel wire

cable, 18 x 12 x 30'. Installation New York City.

http://takashihorisaki.com/sculpture_index.html

Christian Holstad. Memorial. 2009. Graphite on newsprint, 11 ¼ x 23 3/4”.

http://www.danielreichgallery.com/holstad39.html

Joan Jonas. Lines in the Sand. 2002. Installation/performance, Documenta

11, Kassel, Germany

http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/joanjonas.php?i=1013

Sophie Calle. Take Care of Yourself. 2003. Installation 2009, Paula Cooper

Gallery, New York

http://www.paulacoopergallery.com/exhibitions/56

Miwa Yaniga. Windswept Women: The Old Girls'Troupe. 2009. Installation

Venice Biennale, videotape

http://vernissage.tv/blog/2009/07/17/miwa-yanagi-windswept-women-the-old-girls-troupe-japanese-pavilion-venice-biennale-2009/

Patty Chang. In Love. YouTube tape of artist and work.

http://www.youtube.com/watch?v=7cosHkYIJy4

Chen Chieh-Jen. Bade Area. 2005. One of 5 videos shown at the Asia Society,

New York

http://www.nytimes.com/2007/07/25/arts/design/25chan.html

Lee Bul. Cyborg creatures and Karaoke pod illustrations.

http://www.we-make-money-not-art.com/archives/2006/02/lee-buls-futuri.php

Cao Fei. RMB City. On “Second Life” virtual network.

http://www.danwei.org/featured_video/china_tracy_cao_feis_second_li.php

Do-Ho Suh. Staircase IV. 2004. Translucent nylon, dimensions variable.

http://www.lehmannmaupin.com/#/artists/do-ho-suh/

Eugenio Dittborn. The 29^th History of the Human Face (Sopap.) Airmail

Painting No. 168. 2007. Tincture, text, stiching, frotage and

photosilkscreen on 3 sections of duck fabric, 82 ½ 82 1/2”.

http://oneartworld.com/artists/E/Eugenio+Dittborn.html

Roman Ondak. Measuring the Universe. 2007. Marker on wall, installation,

dimensions variable. The Museum of Modern Art, New York

http://www.moma.org/visit/calendar/exhibitions/980

Laura Anderson Barbata. Website: Work from Dieu Donne installation to Jumbie parade.

http://translate.google.com/translate?hl=en&sl=es&u=http://www.lauraandersonbarbata.com/&ei=2Q3RSqSGLNXZlAe0hbSpCg&sa=X&oi=translate&resnum=1&ct=result&ved=0CAoQ7gEwAA&prev=/search%3Fq%3DLaura%2BAnderson%2BBarbata%26hl%3Den%26rls%3Dgm%26sourceid%3Dgmail

Hsieh Ying-Chun. What to Be Done. 1999-ongoing. Various media.

http://universes-in-universe.org/eng/bien/venice_biennale/2009/tour/taiwan/05_hsieh_ying_chun

Wenda Gu. United Nations United 7561 kilometers. 2002. 5000 meters human

hair braid (4698 miles), made of 7,561,000 meters human hair, rubber

stamps recreated 191 nations' names. Installation, Art Gallery, University

of North Texas, Denton

http://www.wendagu.com/installation/united_nations/un_7561kilometers01.html