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MoMA Highlights
This revised and redesigned edition of MoMA Highlights:
350 Works from The Museum of Modern Art presents a
new selection from the Museums unparalleled collection
of modern and contemporary art. Each work receives a
vibrant image and an informative text, and 115 works
make their first appearance in Highlights, many
2 3
Introduction
Generous support for this publication is Produced by the Department of Publications What is The Museum of Modern Art? 53rd Street, from a single curatorial
The Museum of Modern Art, New York
provided by the Research and Scholarly At first glance, this seems like a rela- department to seven (including the
Publications Program of The Museum of Edited by Harriet Schoenholz Bee, Cassandra Heliczer, tively straightforward question. But the most recently established one, Media
Modern Art, which was initiated with the sup- and Sarah McFadden
Designed by Katy Homans answer is neither simple nor straight- and Performance Art, founded in
port of a grant from The Andrew W. Mellon Production by Matthew Pimm forward, and any attempt to answer it 2006), and from a program without a
Foundation.Publication is made possible Color separations by Evergreen Colour Separation
by an endowment fund established by The (International) Co., Ltd., Hong Kong almost immediately reveals a complex permanent collection to a collection of
Andrew W. Mellon Foundation, the Edward
Printed in China by OGI/1010 Printing International Ltd. institution that, from its inception, has over 100,000 objects, MoMA has regu-
John Noble Foundation, Mr. and Mrs. Perry R. This book is typeset in Berthold Akzidenz Grotesk and engendered a variety of meanings. larly grown, changed, and rethought
Bass, and the National Endowment for Franklin Gothic. The paper is 95gsm Hi-Q Matt Art. For some, MoMA is a cherished place, itself. In doing so it has undergone
the Humanities Challenge Grant Program. Third revised edition 2013 a sanctuary in the heart of midtown seven major architectural expansions
1999, 2004, 2013 The Museum of Modern Art, New York Manhattan. For others, it is an idea and renovations since the completion
Library of Congress Control Number: 2012954960 represented by its collection and ampli- of its first building in 1939, with its
ISBN: 978-0-87070-846-6 fied by its exhibition program. For still most recent expansion, designed by
Published by The Museum of Modern Art others, it is a laboratory of learning, a the celebrated Japanese architect
11 West 53 Street place where the most challenging and Yoshio Taniguchi, finished in late 2004.
New York, NY 10019-5497
www.moma.org difficult art of our time can be mea- This virtually continuous process of
sured against the achievements of the physical growth reflects the institu-
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D.A.P., New York immediate past. tions ongoing efforts to honor its own
155 Sixth Avenue, 2nd floor, New York, NY 10013 MoMA is, of course, all of this changing programmatic and intellectual
www.artbook.com
and more. Yet, in 1929, its founders needs by constantly adjusting, and fre-
Distributed outside the United States and Canada by dreamed, and its friends, trustees, quently rethinking, the topography of
Thames & Hudson Ltd
181A High Holborn, London WC1V 7QX and staff have dreamed since, that its its space. Each evolution has opened
www.thamesandhudson.com multiple meanings and potential would up the possibility for the institutions
Cover: Andy Warhol. Campbells Soup Cans (detail). 1962. ultimately be resolved into some final, next iteration, creating a kind of perma-
See p. 234. Back cover: The Abby Aldrich Rockefeller Sculpture fully formed equilibrium. nent self-renewing debate within MoMA
Garden, looking west from the MoMA lobby, with Hector
Guimards Entrance Gate to Paris Subway (Mtropolitain) In 1939, for instance, in the about both its future and its relation-
Station, c. 1900. See p. 27. Title spread (p. 2): Rachel catalogue for the Museums tenth ship to the past. With each change have
Whiteread. Water Tower. 1998. See p. 334. P. 7: Vincent
van Gogh. The Starry Night (detail). 1889. See p. 25. P. 9: anniversary exhibition, the Museums come new expectations and challenges,
Maya Deren. Meshes of the Afternoon. 1943. See p. 151. president, A. Conger Goodyear, proudly and this is especially true today.
Printed in China proclaimed that the institution had The Museum of Modern Art is pred-
finally reached maturity. As we now icated on a relatively simple proposi-
realize, despite the achievements of tion, that the art of our timemodern
the Museums initial years, he could artis as vital as the art of the past. A
not have anticipated the challenges to corollary of this proposition is that the
come. The Museum was still at the aesthetic and intellectual interests that
beginning of an adventure that contin- shape modern art can be seen in medi-
ues to unfold more than half a century ums as different as painting and sculp-
later. At the age of ten the Museum ture, film, photography, media and
was (and at eight times ten moves performance, architecture and design,
onward as) an exploratory enterprise prints and illustrated books, and draw-
whose parameters and possibilities ingsthe Museums current curatorial
remain open. departments. From the outset, MoMA
From temporary quarters at 730 has been a laboratory for the study of
Fifth Avenue to its current building occu- the ways in which modernity has mani-
pying most of a city block at 11 West fested itself in the visual arts.
5
There has been, of course, and still many people involved with the
there will continue to be, a great deal Museum who knew them, and have
of debate over what is actually meant preserved and burnished their memo-
by the term modern in relation to ries, but it is also because they are, or
art. Does it connote a moment in were, such fascinating figures, whose
time? An idea? A particular set of val- vision and drive gave birth to an institu-
ues? Whatever definition is favored, it tion that was the first, and rapidly
seems clear that any discussion of the became the foremost, museum of its
concept must take into account the kind in the world.
role MoMA has played in attempting to Given the resonance of this found-
define, by its focus and the intellectual ing legacy, the challenge for MoMA
arguments of its staff, a canon of today is to build upon this past without
modern and contemporary art. These being delimited or constrained by it.
efforts at definition have often been This is by no means a simple task. To
controversial, as the Museum has keep the Museum open to new ideas
sought to navigate between the inter- and possibilities also means reevaluat-
ests of the avant-garde, which it seeks ing and changing its perception of its
to promote, and the general public, past. As the Museum has become
which it seeks to serve. increasingly established and respected,
The story of how MoMA came to be its sense of responsibility to its own
so intimately associated with the his- prior achievements has grown. In many
tory of modern art forms a rich narra- ways, it has become an agent impli-
tive that, over time, has acquired the cated in the growth of the very tradition
potency of a founding myth. Like all it seeks to explore and explicate:
such myths, it is part fiction and part through its pioneering exhibitions,
truth, built upon the reality of the often based upon its permanent collec-
Museums unparalleled collection. tion; its International Program, which
Various accountsfrom Russell has promoted modern art by circulating
Lyness 1937 book Good Old Modern exhibitions around the world; and its
to the Museums own volume of 1984, acquisitions, publications, and public
The Museum of Modern Art, New York: programs. Thus it must constantly seek
The History and the Collectiongive an appropriate critical distance, one
MoMAs story at length, and this is not that allows it to observe as well as to
the place to repeat or enlarge upon it. be observed. While this distance may
What is worth considering, however, is be impossible to achieve fully, the
that over eighty years after the Museum effort to do so has resulted in a com-
first opened its doors, many of those mitment to an intense internal debate,
associated with its beginningsAbby and an openness to sharing ideas with
Aldrich Rockefeller, a founding trustee; the public in a quest to promote an
Alfred H. Barr, Jr., the first director; ever deeper engagement with modern
Philip Johnson, who established the art for the largest possible audience.
architecture and design department; Any understanding of MoMA must
and Dorothy C. Miller, one of the begin with the recognition that the very
Museums first curators, to name only idea of a museum of modern art implies
a fewremain vivid figures whose an institution that is forever willing to
ideas and personalities continue to court risks and controversy. The chal-
reverberate through the institution. lenge for the Museum is to periodically
This is true, in part, because there are reinvent itself, to map new space,
6 7
metaphorically as well as practically; to ments were initially relatively fluid,
do this it must be its own severest during the late 1960s and 1970s they
critic. Programmed, therefore, into became more codified, as each depart-
MoMA and its historyand by implica- ment became responsible for develop-
tion its futureare a series of contra- ing its collection independently of the
dictions and confliicts. Put differently, other departments.
the Museum grew out of a disruption This approach has enabled MoMA
with the past, as it committed itself to to study and organize the vast array of
artists and audiences who had previ- art that it owns. It has led, as well, to
ously been ignored or at best grudg- the layout of the Museums galleries in
ingly recognizedand if it wishes to recent times by department. But this
remain engaged with contemporary art, fundamentally taxonomic approach
it must find ways to remain disruptive has sometimes resulted in a relatively
and open to new ideas and approaches. static reading of modern art, with a
It was for this reason that the Museum clearly defined set of physical and con-
merged in 2000 with P.S.1, a center ceptual paths through the collection.
for contemporary art in Long Island Over the last fifteen years, however,
City, Queens, two subway stops from the Museum has become increasingly
53rd Street, that had championed aware of the importance of interdisci-
emerging artists and had and contin- plinary approaches to the presentation
ues to have a different audience from of its collection. The division of the
the Museums. But to be disruptive galleries into discrete departmental
means to live with fierce divisions, spaces is gradually being balanced by
internal as well as external, over such a more synthetic and inclusive reading
diverse issues as, for example, the of the collection that complicates,
importance of abstract art, how to deal rather than simplifies, relationships
with the representation of alternative among works of art.
modernisms within the collection, and The growth of the Museums collec-
whether the Museum should continue tion has been steady and sometimes
to collect contemporary art. Rather dramatic. MoMA acquired its first
than resolve such divisions, MoMA has works, including Aristide Maillols
had the strength to live with them. This sculpture Ile de France, in 1929, the
has ensured that the Museum remains year it was established. Only in 1931,
an extremely lively place, where issues however, after founding trustee Lillie P.
and ideas are argued over with an Bliss bequeathed to the Museum a
often startling intellectual intensity. superb group of 116 paintings, prints,
Working within its current configura- and drawings, including Paul Czannes
tion of seven curatorial departments The Bather, Pines and Rocks, and Still
that collect, MoMA has built an unpar- Life with Apples, and Paul Gauguins
alleled collection that now spans over The Moon and the Earth, did the collec-
150 years, from the mid-nineteenth tion really began to develop. By 1940,
century to the present. Defined by their the Museums collection had grown to
focus on different mediums, the cura- 2,590 objects, including 519 drawings,
torial departments reflect the Museums 1,466 prints, 436 photographs, 169
interest in examining the various ways paintings, and 1,700 films. Twenty
in which modern ideas and ideals have years later the collection had expanded
manifested themselves across disci- to over 12,000 objects, and by 1980 it
plines. While the roles of the depart- exceeded 52,000. Today, the Museum
8 9
owns over 6,000 drawings, 50,000 their successors as holes are filled in The principal reason the Museum has many such publications to come
prints and illustrated books, 25,000 the collection and areas of overempha- the most comprehensive collection of designed to explore the complexity and
photographs, 3,200 paintings and sis are modified. modern art in the world is that from variety of possibilities that exist within
sculptures, 24,000 works of architec- The vast majority of the objects in the outset it has accepted only uncon- the collection, and to suggest new and
ture and design, and 20,000 films MoMAs collection have been acquired ditional gifts, with very few exceptions. imaginative ways of understanding the
videos, and other media works. as gifts and bequests, which are often This has allowed it periodically to reas- different works of art that constitute it.
Many of the most important works the fruit of relationships nurtured sess the relative importance of any work Organized in a general but not rigid
in the collectionincluding Pablo through the years, from generous of art in its collection, but the price has chronological order, the book endeav-
Picassos Demoiselles dAvignon, donors and friends. The Museums been that of occasionally seeing art- ors to juxtapose works from different
Henri Matisses Blue Window, Vincent trustees have played a particularly works go to other institutions (such as parts of the collection in surprising,
van Goghs Starry Night, and Piet important role in this regard, and the the Walter and Louise Arensberg Col revealing, and sometimes arbitrary
Mondrians Broadway Boogie Woogie recent bequests of Louise Reinhardt lection, which went to the Philadelphia ways. Compare, for example, Pierre
entered it during and immediately after Smith and Florene May Schoenborn, Museum of Art when MoMA was unable Bonnards Nude in a Bathroom and
World War II. There were many reasons and the gifts of David and Peggy to accept the conditions imposed by Picassos Girl Before a Mirror, both
for this, among them the Nazis selling Rockefeller, Philip Johnson, Elaine the donors). Nevertheless, the policy painted in 1932. Each, in a very differ-
of so-called degenerate art from state Dannheisser, Agnes Gund, Ronald S. has also given MoMA the ability to ent way, explores questions of intimacy
collections; the economic might of Lauder, the Judith Rothschild Founda reconsider and revise its collection, and introspection, Bonnard by examin-
the United States, especially after the tion, Gilbert and Lila Silverman, allowing it to exist in what Barr would ing his wife as she dries herself off
wars end; and the war-induced emigra- Herman and Nicole Daled, and the have called a metabolic state of self- after a bath, Picasso by studying his
tion of artists and collectors to the Woodner family are among the most renewal. An additional consequence of mistress Marie-Thrse Walter as she
United States and elsewhere. Having recent examples of a tradition that the Museums policy on gifts is that the contemplates herself in a mirror.
helped to introduce American audi- includes such extraordinary bequests institution has been free to integrate Bonnard, known for his optical acuity
ences to avant-garde European art as those of Lillie P. Bliss, William S. works into its collection in an unre- and coloristic effects, reveals himself
throughout the 1930s, MoMA became Paley, and Gordon Bunshaft. In addi- stricted way, permitting the development here to be a master of subtle psycho-
a haven for art, artists, and collec- tion, major gifts from such close of a coherent, relatively unencumbered logical probing, while Picasso uses his
torsall victims of Nazi persecution. friends of the Museum as Sidney and presentation of its collection, confined prodigious talent to examine the com-
Collections are complex entities Harriet Janis, Mary Sisler, Mr. and Mrs. only by the limitations of its space. plex boundary between mystery and
that evolve in different ways. They are John Hay Whitney, and many others Given that great collections are Eros, developing a rich and powerful
all the result, however, of discrete deci- have also strengthened the collection. inevitably mosaics that shift and image built of flat, bold colors sur-
sions made by individuals. In MoMAs The Museum also purchases works change over time, the cumulative rounded by thick black contours that
case, these decisions rest with the of art, and it occasionally deacces- results of individual tastes and idiosyn- give his painting an almost iconic qual-
director and chief curators. In addition, sions an object in order to refine crasies and of the vagaries of historical ity. Another pairing, Stuart Daviss Odol
each curatorial department has a work- and enhance its collection. Perhaps opportunities, it is through the ordering of 1924 and Sven Wingquists Self-
ing committee, authorized by the Board the most celebrated instance of this and presentation of their collections Aligning Ball Bearing of 1929, exam-
of Trustees, to act on its behalf in the was the sale of an Edgar Degas, along that museums encode their ideas and ines the rising impact of industrial
acquisition process. Since the develop- with several other works from the narratives. This is especially true in design and consumerist society. Not
ment of the Museums collection, like Lillie P. Bliss bequest, that enabled MoMAs case, as the collection is the every juxtaposition is meant to be read
that of most museums, has occurred the Museum to acquire Picassos principal means by which it argues for as a comparison or confrontation
over time, each generations choices Demoiselles dAvignon, one of the its reading of modern art. Thus the some are simply the result of two inter-
are woven into the collections fabric most important paintings of the twenti- publication of this third edition of esting works of art brought together for
so that a continuous thread of ideas eth century and a cornerstone of the MoMA Highlights celebrates the rich- consideration on facing pages. In pre-
and interests emerges. The result Museums collection. Deaccessioning ness of the Museums collection paring this volume, we have tried to
reflects the unfolding pattern of the also permitted the Museum to acquire and the variety of issues and ideas demonstrate that MoMAs collection is
Museums history in a collection that Van Goghs Portrait of Joseph Roulin, embraced here. The book is not meant the result of both considered, careful
is nuanced, inflected, and altered by in 1989; Gerhard Richters celebrated to be comprehensive, nor to provide a research and fortuitous opportunities
the tastes and ideas of individual direc- fifteen-work group October 18, 1977, definitive statement on the Museums that have allowed us to assemble often
tors and curators, and by the responses in 1995; and Jasper Johnss Diver, in collection. On the contrary, it is disparate works of art in new and
those tastes and ideas engender in 2003, among other important works. intended to be provocative, one of intriguing relationships.
10 11
Modern art began as a great exper- diate past, in an ongoing effort to
iment, and it continues to be one today. continue to define modern art. By
Much of the Museums early effort was locating objects and people in time as
given over to trying to make order out well as space, the Museum is con-
of the seemingly confused, even at stantly mapping relationships between
times baffling nature of this art. While works of art and their viewers, so that
these efforts helped to explain the the space of the Museum becomes a
complicated relationships among differ- site of narration where many individual
ent movements and counter-movements stories can be developed and realized.
(such as Cubism, Suprematism, Dada, This process of experimentation and
Conceptual art, and Minimalism, to narration also allows us to create a
name a few), they also, inadvertently, dialogue between artists (and ideas) of
tended to simplify and reconcile compet- the first years of the twentieth century
ing and contradictory ideas. The positiv- and those of the centurys final years.
ist assertion of the first decades of the To do this successfully, the Museum
Museums existencethat modern art is committed to developing new ways
formed a single coherent narrative that of understanding and presenting its
could be reflected in the Museums gal- collection. The first edition of this
leriesneeds to be tempered by the handbook, with its multidisciplinary
recognition that the very ideas of mod- approach, was one of the first steps
ern and contemporary art imply the in this process. Another was the
possibility of multiple, even contradic- Museums year-long project of three
tory narratives. To a large degree, of cycles of exhibitions presented in cele-
course, the Museums founders were bration of the millennium, from fall
aware of the richness of this tradition, 1999 through early 2001, which exam-
and their pioneering efforts initially ined its permanent collection in new
embraced a broad range of interests, ways that parallel many of the themes
including tribal, nave, and folk art. But developed in this volume. The opening
the relatively limited space of the gal- of the new MoMA in November 2004,
leries and their linear configuration, with its expanded galleries and layout,
compounded by their dramatic growth, continues this process of exploring
inevitably led to a reductivist approach. the richness and complexity of the
Today, contemporary artists chal- Museums diverse holdings.
lenge us in many of the same ways While this process of reconsidering
that artists of the avant-garde of forty modern and contemporary art was
years ago (many of whom are now given new impetus with the completion
regarded as modern masters) chal- of the Museums new building and
lenged viewers of their day. That we the merger with P.S.1 (renamed MoMA
have come to accept the achievements PS1 in 2010), it is an ongoing exer-
of Picasso and Matisse, Mondrian and cise. This edition of highlights of the
Jackson Pollock, does not necessarily Museums collection, featuring over
mean that their work is either fully 100 works not included in the earlier
understood or that this acceptance is editions, may thus be taken as yet
universal. For The Museum of Modern another chapter in that story and as
Art, this means that its collection must both a record of the Museums past
be a laboratory where the public can and a statement in anticipation of an
explore the relationship between con- exciting future.
temporary art and the art of the imme- Glenn D. Lowry, Director
12
Paul Gauguin French, 18481903 Henri Rousseau French, 18441910
The Seed of the Areoi (Te aa no in The Seed of the Areoi owe more to The Sleeping Gypsy. 1897 A sometime douanier (toll collector)
areois). 1892 his aesthetic invention than to the Oil on canvas, 51" 6'7" (129.5 for the city of Paris, Rousseau was
Oil on burlap, 3614 2838" (92.1 72.1cm)
islands visual realities. 200.7cm) a self-taught painter whose work
The William S. Paley Collection In the origin myth of the Areoi, a Gift of Mrs. Simon Guggenheim seemed entirely unsophisticated to
Polynesian secret society, a male sun most of its early viewers. Much in his
The Polynesian goddess sits on a god mates with the most beautiful of As a musician, the gypsy in this paint- art, however, found modernist echoes:
blue-and-white cloth. Gauguins style all women, Varamati, to found a ing is an artist; as a traveler, she has the flattened shapes and perspectives,
fuses various non-European sources: new race. By painting his Tahitian mis- no clear social place. Lost in the self- the freedom of color and style, the sub-
ancient Egyptian (in the hieratic pose), tress Tehura as Varamati, Gauguin absorption that is deep, dreaming ordination of realistic description to
Japanese (in the relative absence of implied a continuity between the sleep, she is dangerously vulnerable imagination and invention. As a conse-
shadow and modeling, and in the islands past and its life during his yet the lion is calmed and entranced. quence, critics and artists appreciated
areas of flat color), and Javanese (in own stay there. In fact, Tahiti had been The Sleeping Gypsy is formally Rousseau long before the general
the position of the arms, influenced by profoundly altered by colonialism (the exactingits contours precise, its color public did.
a relief in the temple of Borobudur). Areoi society itself had disappeared), crystalline, its lines, surfaces, and
But there are also signs of the West, but Gauguins anachronistic vision of accents carefully rhymed. Rousseau
specifically through aspects of the the place gave him an ideal model for plays delicately with light on the lions
pose derived from a work by the French his painting. This vision was particu- body. A letter of his describes the
Symbolist painter Pierre Puvis de larly powerful for him in its contrast paintings subject: A wandering
Chavannes. The color, too, is eclectic: with the West, which, he believed, had Negress, a mandolin player, lies with
although Gauguin claimed to have fallen into a state of decay. her jar beside her (a vase with drinking
found his palette in the Tahitian land- water), overcome by fatigue in a deep
scape, the exquisite chromatic chords sleep. A lion chances to pass by, picks
up her scent yet does not devour her.
There is a moonlight effect, very
poetic. The scene is set in a com-
pletely arid desert. The gypsy is
dressed in oriental costume.
22 23
Georges-Pierre Seurat French, 18591891 Vincent van Gogh Dutch, 18531890
Evening, Honfleur. 1886 generating a magical shimmer. A con- The Starry Night. 1889 the morning star, which looked very
Oil on canvas, 2534 32" (65.4 81.1cm) temporary critic described the light in Oil on canvas, 29 3614" (73.7 92.1cm) big. This morning star, or Venus, may
Gift of Mrs. David M. Levy Evening, Honfleur and related works as Acquired through the Lillie P. Bliss Bequest be the large white star just left of cen-
a gray dust, as if the transparency ter in The Starry Night. The hamlet, on
Seurat spent the summer of 1886 in of the sky were filled with, or even con- Van Goghs night sky is a field of roiling the other hand, is invented, and the
the resort town of Honfleur, on the stituted by, barely visible mattera energy. Below the exploding stars, church spire evokes van Goghs native
northern French coast, a region of tur- sensitive response to the paints move- the village is a place of quiet order. land, the Netherlands. The painting,
bulent seas and rugged shorelines to ment between illusion and material Connecting earth and sky is the flame- like its daytime companion, The
which artists had long been attracted. substance, as the dots both merge like cypress, a tree traditionally associ- Olive Trees, is rooted in imagination
But Seurats evening scene is hushed to describe the scene and break into ated with graveyards and mourning. But and memory. Leaving behind the
and still. Vast sky and tranquil sea grains of pigment. death was not ominous for van Gogh. Impressionist doctrine of truth to
bring a sense of spacious light to the Seurat painted a frame around the Looking at the stars always makes me nature in favor of restless feeling and
picture, yet also have a peculiar visual scene, buffering a transition between dream, he said. Why, I ask myself, intense color, as in this highly charged
density. Long lines of cloud echo the the world of the painting and reality. At shouldnt the shining dots of the sky picture, van Gogh made his work a
breakwaters on the beachsigns of the upper right, the dots on the frame be as accessible as the black dots on touchstone for all subsequent
human life and order. grow lighter, lengthening the rays of the the map of France? Just as we take the Expressionist painting.
Seurat had used his readings of setting sun. train to get to Tarascon or Rouen, we
optical theory to develop a systematic take death to reach a star.
technique, known as pointillism, that The artist wrote of his experience
involved the creation of form out of to his brother Theo: This morning I
small dots of pure color. In the viewers saw the country from my window a long
eye, these dots can both coalesce into time before sunrise, with nothing but
shapes and remain separate particles,
24 25
Alfred Roller Austrian, born Moravia (now Czech Republic). 18641935 Hector Guimard French, 18671942
Poster for the 16th Secession Entrance Gate to Paris Subway Paris was not the first city to imple-
exhibition. 1902 (Mtropolitain) Station. c. 1900 ment an underground system (London
Color lithograph Painted cast iron, glazed lava, and glass,
already had one), but the approaching
3738 1258" (95 32cm) 13' 11" 17'10" 32" (424 544 81 cm) Paris Exposition of 1900 accelerated
Gift of Jo Carole and Ronald S. Lauder Gift of Rgie Autonome des Transports the need for an efficient and attractive
Parisiens means of mass transportation. Although
A founding member of the Vienna Guimard never formally entered the
Secession and the groups president The emergence of the Art Nouveau competition launched in 1898 by the
in 1902, Roller created several iconic style toward the end of the nineteenth Compagnie du Mtropolitain for the
posters for the 16th Secession exhibi- century resulted from a search for a design of the systems entrance gates,
tion of 1903, all distinguished by their new aesthetic that was not based on he won the commission with his avant-
typographic innovation and striking historical or classical models. The garde schemes, all using standardized
use of color and ornament. In this one, sinuous, organic lines of Guimards cast-iron components to facilitate man-
the composition is dominated by the design and the stylized, giant stalks ufacture, transport, and assembly.
word Secession, with its sinuous drooping under the weight of what While Parisians were at first
trailing letters that both emphasize the seem to be swollen tropical flowers, hesitant in their response to Guimards
vertical format and set up a rhythmic but are actually amber glass lamps, use of an unfamiliar vocabulary associ-
tension against the repeating pattern make this a quintessentially Art ated with the luxury market, the Mtro
in the background. Tendril forms such Nouveau piece. Guimards designs for gates, installed throughout the city,
as these had become a favored orna- this famous entrance arch and two oth- effectively brought the Art Nouveau
mental motif for Art Nouveau designers ers were intended to visually enhance style into the realm of popular culture.
across Europe. the experience of underground travel
In contrast to the titles graphic on the new subway system for Paris.
linearity and open spacing, the exhibi-
tion details are presented with boldly
stylized, dense lettering inside a
chunky rectangular block. The combina-
tion of soft pink on a white ground with
a bold black overlay is unexpected, one
of many contrasts played out in the
composition between constraint and
freedom, sensuality and order, feminin-
ity and masculinity, and between the
fluidity of modern life and echoes of a
heraldic past. The motif of three abstract
shields in the background symbolizes
the three so-called sister arts (paint-
ing, architecture, and sculpture), which
the Viennese Secessionists were keen
to unite. Roller himself had studied
architecture and painting at the Vienna
Academy of Fine Arts and combined
these different art forms in his work
for the Vienna State Opera.
26 27
Vasily Kandinsky French, born Russia. 18661944 Marc Chagall French, born Belarus. 18871985
Picture with an Archer. 1909 left foreground stand men in Russian I and the Village. 1911 planes of Cubism, but Chagalls is a
Oil on canvas, 68 57 " (175 144.6cm)
78 38 dress; behind them are a house, a Oil on canvas, 6'3 " 59 "
58 58 personalized version of that style. As a
Gift and bequest of Louise Reinhardt Smith domed tower, and two bulbous moun- (192.1 151.4cm) boy he had loved geometry: Lines,
tainy pinnacles, cousins of the bent- Mrs. Simon Guggenheim Fund angles, triangles, squares, he would
The color in Picture with an Archer is necked spire in the pictures center. later recall, carried me far away to
vibrantly aliveso much so that the Russian icons show similar rocks, which Painted the year after Chagall came enchanting horizons. Conversely, in
scene is initially hard to make out. The do exist in places in the East, but even to Paris, I and the Village evokes his Paris he used a disjunctive geometric
patchwork surface seems to be shrug- so have a fantastical air. The lone rider memories of his native Hasidic com structure to carry him back home.
ging off the task of describing a space with his archaic weapon, the traditional munity outside Vitebsk. In the village, Where Cubism was mainly an art of
or form. Kandinsky was the first mod- costumes and buildings, and the rural peasants and animals lived side by urban avant-garde society, I and the
ern artist to paint an entirely abstract setting intensify the note of fantasy or side, in a mutual dependence here Village is nostalgic and magical, a rural
composition; at the time of Picture with poetic romance. There is a nostalgia signified by the line from peasant to fairy tale: objects jumble together,
an Archer, that work was just a few here for a time or perhaps for a place: in cow, connecting their eyes. The peas- scale shifts abruptly, and a woman and
months away. 1909 Kandinsky was living in Germany, ants flowering sprig, symbolically a two houses, at the paintings top,
Kandinsky took his approach from far from his native Russia. But in the tree of life, is the reward of their part- stand upside-down. For the Cubists,
Parisparticularly from the Fauves glowing energy of the paintings color nership. For the Hasidim, animals were Chagall said, a painting was a surface
but used it to create an Eastern land- there is also excitement and promise. also humanitys link to the universe, covered with forms in a certain order.
scape suffused with a folk-tale mood. and the paintings large circular forms For me a painting is a surface covered
Galloping under the trees of a wildly suggest the orbiting sun, moon (in with representations of things ... in
radiant countryside, a horseman turns eclipse at the lower left), and earth. which logic and illustration have no
in his saddle and aims his bow. In the The geometries of I and the importance.
Village are inspired by the broken
48 49
Pablo Picasso Spanish, 18811973 Henri Matisse French, 18691954
Les Demoiselles dAvignon. 1907 melon slices the air like a scythe. Dance (I). 1909 her breast. The other dancers seem so
Oil on canvas, 8' 7'8" (243.9 233.7cm) The faces of the figures at the Oil on canvas, 8'612" 12'912" light they nearly float. The woman at
Acquired through the Lillie P. Bliss Bequest right are influenced by African masks, (259.7 390.1cm) the far right is barely sketched in, her
which Picasso assumed had functioned Gift of Nelson A. Rockefeller in honor of foot dissolving in runny paint as she
Les Demoiselles dAvignon is one of as magical protectors against danger- Alfred H. Barr, Jr. reels backward. The arm of the dancer
the most important works in the gene- ous spirits: this work, he said later, to her left literally stretches as it
sis of modern art. The painting depicts A monumental image of joy and energy,
was his first exorcism painting. A reaches toward the leaders hand,
five naked prostitutes in a brothel; two Dance is also strikingly daring. Matisse
specific danger he had in mind was life- where momentum has broken the cir-
of them push aside curtains around made the painting while preparing a
threatening sexual disease, a source cle. The dancers speed is barely con-
the space where the other women decorative commission for the Moscow
of considerable anxiety in Paris at the tained by the edges of the canvas.
strike seductive and erotic posesbut collector Sergei Shchukin, whose final
time; earlier sketches for the painting Dance (II) is more intense in color
their figures are composed of flat, version of the scene, Dance (II), was
more clearly link sexual pleasure to than this first version, and the dancers
splintered planes rather than rounded shown in Paris in 1910. Nearly identical
mortality. In its brutal treatment of the bodiesthere deep redare more sin-
volumes, their eyes are lopsided or in composition to this work, its simpli
body and its clashes of color and style ewy and energetic. In whatever canvas
staring or asymmetrical, and the two fications of the human body were
(other sources for this work include they appear, these are no ordinary
women at the right have threatening attacked as inept or willfully crude. Also
ancient Iberian statuary and the work dancers, but mythical creatures in a
masks for heads. The space, too, noted was the works radical visual flat-
of Paul Czanne), Les Demoiselles timeless landscape. Dance, Matisse
which should recede, comes forward ness: the elimination of perspective
dAvignon marks a radical break from once said, meant life and rhythm.
in jagged shards, like broken glass. In and foreshortening that makes nearer
traditional composition and perspective.
the still life at the bottom, a piece of and farther figures the same size, and
the sky a plane of blue. This is true, as
well, of the first version.
Here, the figure at the left moves
purposefully; the strength of her body
is emphasized by the sweeping unbro-
ken contour from her rear foot up to
50 51
Giorgio de Chirico Italian, born Greece. 18881978 Sophie Taeuber-Arp Swiss, 18891943
62 63
Frank Lloyd Wright American, 18671959 Gerrit Rietveld Dutch, 18881964
68 69
Max Ernst French, born Germany. 18911976 Marcel Duchamp American, born France. 18871968
The Hat Makes the Man. 1920 natory, often erotic visions. The origin Bicycle Wheel. 1951 (third version, remade it almost four decades later.)
Gouache, pencil, oil, and ink on cut-and- of this collage is a sculpture made after lost original of 1913) Duchamp claimed to like the works
pasted printed paper on paper, 1378 1734" from wood hat molds that Ernst cre- Assemblage: metal wheel, 2512" (63.8cm)
appearance, to feel that the wheel
(35.2 45.1cm) ated in 1920 for a Dada exhibition in diam., mounted on painted wood stool, 2334" turning was very soothing. Even now,
Purchase Cologne. The repetition of the hat, (60.2cm) high; overall, 5012 2512 1658" Bicycle Wheel retains an absurdist
indicative of part of the bourgeois uni- (128.3 63.8 42cm) visual surprise. Its greatest power,
Pictures of ordinary hats cut out of a
form, suggests the Dadaist view of The Sidney and Harriet Janis Collection however, is as a conceptual proposition.
catalogue are stacked one atop the
modern man as a conformist puppet.
other in constructions that resemble Bicycle Wheel is Duchamps first
Thus, in true Dada fashion, Ernst com-
both organic, plantlike forms and Readymade, a class of artworks that
bines the contradictory elements of an
anthropomorphic phalluses. With the raised fundamental questions about
inanimate object with references to
inscription, seed-covered stacked-up artmaking and, in fact, about arts very
man and to nature; symbols of social
man seedless waterformer (edel- definition. This example is actually an
conventionality are equated with sexu-
former) well-fitting nervous system assisted Readymade: a common
ally charged ones.
also tightly fitted nerves! (the hat object (a bicycle wheel) slightly altered,
makes the man) (style is the tailor), in this case by being mounted upside-
Ernst incorporates verbal humor into down on another common object (a
this subversive visual pun. kitchen stool). Duchamp was not the
The artist was a major figure of first to kidnap everyday stuff for art;
the Dada group, which embraced the the Cubists had done so in collages,
concepts of irrationality and obscure which, however, required aesthetic
meaning. The Hat Makes the Man judgment in the shaping and placing of
illustrates the use of mechanical repro- materials. The Readymade, on the
ductions to record Ernsts own halluci- other hand, implied that the production
of art need be no more than a matter
of selectionof choosing a preexisting
object. In radically subverting earlier
assumptions about what the artmaking
process entailed, this idea had enor-
mous influence on later artists, partic-
ularly after the broader dissemination
of Duchamps thought in the 1950s
and 1960s.
The components of Bicycle Wheel,
being mass-produced, are anonymous,
identical or similar to countless others.
In addition, the fact that this version
of the piece is not the original seems
inconsequential, at least in terms of
visual experience. (Having lost the
original Bicycle Wheel, Duchamp simply
70 71
Walt Disney American, 19011966 Buster Keaton American, 18951966
114 115
Charles Sheeler American, 18831965 Le Corbusier (Charles-douard
Jeanneret) French, born Switzerland. 18871965
122 123
Salvador Dal Spanish, 19041989 Meret Oppenheim Swiss, born Germany. 19131985
130 131
Frida Kahlo Mexican, 19071954 Jacob Lawrence American, 19172000
Self-Portrait with Cropped Hair. it as a ribbon around a bomb. But The Migration Series. 194041 Visually, the cycle advances
1940 her stylistic inspirations were chiefly Number 58, from a series of 60 works through panels of great incident and
Oil on canvas, 1534 11" (40 27.9cm)
Mexican, especially nineteenth-century (30 in the Museum): panels of near abstraction and empti-
Gift of Edgar Kaufmann, Jr. religious painting, and she would say, tempera on gesso on composition board, ness. Using exaggerated perspectives,
I do not know if my paintings are 12 18" (30.5 45.7cm) rhythmic constructions, astringent col-
Kahlo painted Self-Portrait with Cropped Surrealist or not, but I do know that Gift of Mrs. David M. Levy ors, and angular figures, Lawrence
Hair shortly after she divorced her they are the most frank expression of bends decorative forms to the task of
unfaithful husband, the artist Diego During the first half of the twentieth
myself. The queasily animate locks of history and makes Social Realism com-
Rivera. As a painter of many self- century, as the expanding modern
fresh-cut hair in this painting must also patible with abstract art. Yet he never
portraits, she had often shown herself industries in Americas northern cities
be linked to her feelings of estrange- loses touch with the task of telling a
wearing a Mexican womans traditional demanded ever more workers, great
ment from Rivera (whom she remarried complex story clearly and accessibly.
dresses and flowing hair; now, in renun- numbers of African Americans saw in
the following year), and they also have Leaving hardships behind in the South,
ciation of Rivera, she painted herself these jobs a chance to escape the
the dreamlike quality of Surrealism. African Americans received a mixed
short haired and in a mans shirt, poverty and discrimination of the rural
For, into the work she has written the reception in the North; along with the
shoes, and oversized suit (presumably South. Between 1916 and 1930 alone,
lyric of a Mexican song: Look, if I possibility of jobs, the vote, and educa-
her former husbands). over a million people moved north.
loved you it was because of your hair. tion, the new life also brought unhealthy
Kahlo knew adventurous European Lawrences own parents made this
Now that you are without hair, I dont living conditions, race riots, and other
and American art, and her own work journey, and he grew up hearing stories
love you anymore. trials all documented in Lawrences
was embraced by the Surrealists, about it; as a young artist living in
cycle, along with his communitys heroic
whose leader, Andr Breton, described Harlem, the heart of New York Citys
perseverance in facing them. Each part
African-American community, he recog-
of the story carries a legend by the art-
nized it as an epic theme. Originally
ist; for the image shown here, the leg-
known as The Migration of the Negro,
end reads: In the North the Negro had
but renamed by the artist in 1993, this
better educational facilities.
distinguished cycle of images chroni-
cles a great exodus and arrival.
156 157
Charles Eames American, 19071978 Ladislav Sutnar American, born Bohemia (now Czech Republic), 18971976
172 173
Arthur Young American, 19051995 David Smith American, 19061965
174 175
Willem de Kooning American, born the Netherlands, 19041997 Robert Rauschenberg American, 19252008
180 181
Dan Flavin American, 19331996 Dorothea Rockburne American, born Canada 1932
untitled (to the innovator of of the gallery by placing one yellow and Scalar. 1971 bottom they rest on the oor, so that
Wheeling Peachblow). 1968 one pink fluorescent tube on each of Chipboard, crude oil, paper, and nails, they also cite sculpture and weight.
Fluorescent lights and metal fixtures, 8'12"
the two vertical elements of a square overall 6'8" 9'612" 312" In reaction against Abstract
8'14" 534" (245 244.3 14.5cm) metal armature. Two horizontal daylight (203.2 289.5 8.9cm) Expressionism, many American artists
Edition: 2/3 bulbs, facing the viewer, complete the Gift of Jo Carole and Ronald S. Lauder of the 1960s, such as Rockburne, tried
Helena Rubinstein Fund structure. and Este Lauder, Inc. to minimize or erase signs of their own
Rather than hanging the work flush in honor of J. Frederic Byers III individuality in their art. Instead, their
Dan Flavin began working with commer- against the wall, Flavin positions it on work drew attention to the process by
cially available fluorescent light tubes Scalar inherits the geometry and
the floor across the corner of a gallery, which it was made and to impersonal
in 1963. He exhibited them singly or in literalness of Minimal art but softens
where the square frames a monochro- agents in its making: its physical
combination, creating a complicated these qualities through variations in
mic plane of colored light and simulta- context, the qualities of its materials,
and varied range of visual effects using its tones and in the disposition of its
neously defines an opening onto a the force of gravity, a system or proce-
minimal means. untitled (to the inno- forms. Tacked-up rectangles (and one
three-dimensional space. untitled (to dure that might generate a form inde-
vator of Wheeling Peachblow) derives cylinder) of paper and chipboard sug-
the innovator of Wheeling Peachblow) pendently of the artists aesthetic
its palette from Wheeling Peachblow, gest a modular order, but differ in
creates a visual effect that invokes the judgment. Scalar is party to these
a type of Victorian art glass first made size and proportion. Sometimes they
conditions of paintings flatness and ideas, but with its blotched surfaces,
in Wheeling, West Virginia, that shades overlap, sometimes leave the wall
sculptures depth without employing its echoes of painting, and its rhythmic
from yellow to deep red, producing a bare; their placement seems both care-
materials traditionally associated with arrangement of uprights and horizon-
delicate peach color in between. Flavin ful and irregular, as in Incan masonry.
either discipline. tals, it remains subtly pictorial, in a
creates a similar color on the walls Unpigmented oil applied to their sur-
powerful combination of rigor and
faces has left gentle mottlings and
delicacy.
stains, which have spread through an
interaction between oil and support
that must have lain largely outside the
artists control. These planes against
the wall invoke paintings, but at the
250 251
Donald Judd American, 19281994 Robert Morris American, born 1931
Untitled (Stack). 1967 Untitled. 1969 iling, loose stacking, hanging, give
p
Lacquer on galvanized iron, twelve units, Gray-green felt, draped, 15'34" 6'12" 1" passing form to material, Morris wrote.
each 9 40 31" (22.8 101.6 78.7cm), (459.2 184.1 2.5cm) Chance is accepted and indeterminacy
installed vertically at 9" (22.8cm) intervals The Gilman Foundation Fund is implied. ... Disengagement with pre-
Helen Acheson Bequest (by exchange) and conceived enduring forms and orders
gift of Joseph Helman Although Morris helped to dene the for things is a positive assertion.
principles of Minimal art, writing impor- This work emphasizes the process
Sculpture must always face gravity, tant articles on the subject, he was of its making and the qualities of its
and the stackone thing on top of also an innovator in tempering the material. But even if Morris was trying
anotheris one of its basic ways of often severe appearance of Minimalism to avoid making form a prescribed
coping. The principle traditionally with a new plasticitya literal soft- end, as a compositional scheme,
enforces a certain hierarchy, an upper ness. In works like this one, he sub- the work has both formal elegance
object being not only usually different jected sheets of thick industrial felt to and psychological suggestiveness: the
from a lower one but conceptually basic formal procedures (a series of order and symmetry of the cut cloth is
nobler, as when a statue stands on parallel cuts, say, followed by hanging, belied by the graceful sag at the top.
a pedestal. Yet in Judds stack of piling, or even dropping in a tangle), In fact, a work produced by rigorous
galvanized-iron boxes, all of the units then accepted whatever shape they aesthetic theory ends up evoking the
are identical; they are set on the wall took as the work of art. In this way he human gure. Felt has anatomical
and separated, so that none is subordi- left the overall conguration of the work associations, Morris has said, it
nated to anothers weight (and also (a conguration he imagined as tempo- relates to the bodyits skinlike.
so that the space around them plays a rary) to the medium itself. Random
role in the work equivalent to theirs);
and their regular climbeach of the
twelve boxes is nine inches high, and
they rest nine inches apartsuggests
an innitely extensible series, denying
the possibility of a crowning summit.
Judds form of Minimalism reected his
belief in the equality of all things. In
terms of existing, he wrote, every-
thing is equal.
The eld of Minimalist objects,
however, is not an undifferentiated
oneJudd also believed that sculpture
needed what he called polarization,
some fundamental tension. Here, for
example, the uniform boxes, their tops
and undersides bare metal, suggest the
industrial production line. Meanwhile
their fronts and sides have a coat of
green lacquer, which, although it is
auto paint, is a little unevenly applied,
and has a luscious glamour.
258 259
Romare Bearden American, 19141988 Stephen Shore American, born 1947
266 267
Jan Lenica Polish, 19282001 George Maciunas American, born Lithuania, 19311978
268 269
Richard Sapper German, born 1932 Milton Glaser American, born 1929
278 279
Frank O. Gehry American, born Canada 1929 John Barnard British, born 1946
304 305
Robert Gober American, born 1954 Martin Kippenberger German, 19531997
322 323
Clint Eastwood American, born 1930 Richard Serra American, born 1939
328 329
Chris Ofili British, born 1968 Mark Grotjahn American, born 1968
350 351
Jennifer Allora American, born 1974 El Anatsui Ghanaian, born 1944
373
Dal, Salvador: The Persistence of Memory, Fischinger, Oskar: Motion Painting I, 195 Hammons, David: High Falutin, 321 Kooning, Willem de: Woman I, 180
130 Flaherty, Robert J.: Nanook of the North, 121 Harrison, Rachel: Alexander the Great, 368 Koons, Jeff: New Shelton Wet/Dry
Davis, Stuart: Odol, 126 Flavin, Dan: untitled (to the innovator of Hawks, Howard: His Girl Friday, 152 Doubledecker, 300
DeCarava, Roy: Shirley Embracing Sam, 192 Wheeling Peachblow), 250 Hayes, Sharon. See Geyer Kubin, Alfred: Untitled (The Eternal Flame), 34
Degas, Hilaire-Germain-Edgar: At the Milliners, Fluxus artists, see Maciunas Heckel, Erich: Frnzi Reclining, 46 Kubrick, Stanley: 2001: A Space Odyssey, 207
31 Fontana, Lucio: Concetto spaziale, 189 Hesse, Eva: Repetition 19, III, 243 Kurgan, Laura, and Eric Cadora, David Reinfurt,
Delaunay, Robert: Simultaneous Contrasts: Ford, John: My Darling Clementine, 171 Hitchcock, Alfred: Spellbound, 163 Sarah Williams, Spatial Information Design
Sun and Moon, 60 Francis, Sam: Big Red, 196 Hch, Hannah: Indian Dancer: From an Lab and Columbia University Graduate
Delaunay-Terk, Sonia: La Prose du Frank, Robert: ParadeHoboken, New Jersey, Ethnographic Museum, 97 School of Architecture, Planning and
Transsibrien et de la petite Jehanne de 200 Hoffmann, Josef: Sitzmaschine Chair with Preservation: Architecture and Justice from
France, 61 Frankenthaler, Helen: Jacobs Ladder, 193 Adjustable Back, 44 the Million Dollar Blocks Project, 362
Demand, Thomas: Poll, 349 Fraser, Andrea: The Public Life of Art: The Hollein, Hans: Highrise Building: Sparkplug, 228 Kurosawa, Akira: Rashomon, 176
Derain, Andr: Bridge over the Riou, 37 Museum, 324 Holzer, Jenny: Truisms, 283 Kusama, Yayoi: No. F, 214
Deren, Maya: Meshes of the Afternoon, 151 Freud, Lucian: Large Head, 318 Hopper, Edward: House by the Railroad, 117 Lam, Wifredo: The Jungle, 162
De Sica, Vittorio: Ladri de biciclette (Bicycle Friedlander, Lee: Galax, Virginia, 235 Hunt, Ashley. See Geyer Lange, Dorothea: Woman of the High Plains,
Thief), 183 Fritsch, Katharina: Figurengruppe, 369 Irwin, Robert: Untitled, 241 Texas Panhandle, 120
diCorcia, Philip-Lorca: Eddie Anderson; 21 Gallagher, Ellen: DeLuxe, 367 Ive, Jonathan: iPod, 346 Lawler, Louise: Does Andy Warhol Make You
Years Old; Houston, Texas; $20, 331 Gauguin, Paul: The Seed of the Areoi, 22 Ivekovic, Sanja: Triangle, 298 Cry?, 306
Diebenkorn, Richard: Ocean Park 115, 261 Gego: Dibujo sin papel, 293 Johns, Jasper: Diver, 223; Flag, 202 Lawrence, Jacob: The Migration Series, 157
Dijkstra, Rineke: Odessa, Ukraine, 341 Gehry, Frank O.: Bubble Chaise Longue, 304 Johnston, Frances Benjamin: Stairway of Le Corbusier and Pierre Jeanneret: Villa Savoye,
Disney, Walt: Steamboat Willie, 114 Genzken, Isa: Bild, 316 Treasurers Residence: Students 123
Dix, Otto: Dr. Mayer-Hermann, 111 Geyer, Andrea, and Sharon Hayes, Ashley Hunt, at Work, 45 Lger, Fernand: Three Women, 87
Doesburg, Theo van, and Cornelis van Katya Sander, and David Thorne: 9 Scripts Jonas, Joan: Mirage, 320 Lenica, Jan: Polske Surrealister (Polish
Eesteren: Color Construction, 106 from a Nation at War, 363 Jucker, Carl J. See Wagenfeld Surrealists), 268
Donnelly, Trisha: Satin Operator, 359 Giacometti, Alberto: Le Chariot, 188; The Palace Judd, Donald: Untitled (Stack), 258 Levitt, Helen: New York, 153
Dresser, Christopher: Claret Pitcher, 17 at 4 A.M., 148 Kahlo, Frida: Self-Portrait with Cropped Hair, LeWitt, Sol: Serial Project, I (ABCD), 244
Dreyer, Carl Theodor: La Passion de Jeanne Glaser, Milton: INY, 279 156 Lichtenstein, Roy: Girl with Ball, 208
dArc, 85 Gober, Robert: Untitled, 322 Kahn, Louis I.: Alfred Newton Richards Ligon, Glenn: Untitled (I am an invisible man),
Dubuffet, Jean: Jo Bousquet in Bed (from Godard, Jean-Luc: Histoire(s) du Cinma, 311 Medical Research Building, Philadelphia, 330
More Beautiful than They Think: Gogh, Vincent van: The Starry Night, 25 254 Lissitzky, El: Proun 19D, 66; USSR Russian
Portraits), 186 Goldin, Nan: Nan and Brian in Bed, New York Kandinsky, Vasily: Picture with an Archer, 48 Exhibition, 90
Duchamp, Marcel: Bicycle Wheel, 71; 3 City, 296 Katz, Alex: Passing, 238 Louis, Morris: Beta Lambda, 218
Standard Stoppages, 73 Gonzalez-Torres, Felix: Untitled (Death by Keaton, Buster, and Clyde Bruckman: The Lumire, Louis: Repas de bb (Feeding the
Dumas, Marlene: The Painter, 326 Gun), 332 General, 115 Baby), 28
Eames, Charles, and Ray Eames: Low Side Gorky, Arshile: Diary of a Seducer, 160 Kelly, Ellsworth: Colors for a Large Wall, 185 Maciunas, George: One Year, 269; Fluxkit, 226
Chair (model LCM), 172 Graham, Dan: Tract Houses, Bayonne, New Kelley, Mike: Exploring from Platos Cave, Magritte, Ren: The False Mirror, 89
Eastwood, Clint: Unforgiven, 328 Jersey, 1966, from Homes for America, Rothkos Chapel, Lincolns Profile, 310 Maholy-Nagy, Lszl: Head, 104
Eesteren, Cornelis van. See Doesburg 248 Kentridge, William: Telephone Lady, 343 Maillol, Aristide: The River, 142
Eggleston, William: Memphis, 239 Graumans, Rody: 85 Lamps Lighting Fixture, 312 Kippenberger, Martin: Martin, Stand in the Malevich, Kazimir: Suprematist Composition:
Eisenstein, Sergei: Potemkin, 94 Gray, Eileen: Screen, 105 Corner and Be Ashamed of Yourself, 323 White on White, 67
Eliason, Eben. See Pentagram Griffith, D. W.: Intolerance, 78 Kirchner, Ernst Ludwig: Street, Dresden, 47 Man Ray: Rayograph, 108
Eliasson, Olafur: I only see things when they Gris, Juan: Breakfast, 58 Klee, Paul: Twittering Machine, 98 Manzoni, Piero: Line 1000 Meters Long, 230
move, 361 Gritti, Marco Pesenti. See Pentagram Klein, Yves: Anthropometry: Princess Helena, Marden, Brice: Lethykos (for Tonto), 292
Ensor, James: Hop-Frogs Revenge, 29 Grosz, George: The Convict: Monteur John 210 Marin, John: Brooklyn Bridge (Mosaic), 77
Ernst, Max: The Hat Makes the Man, 70; Two Heartfield after Franz Jungs Attempt to Klimt, Gustav: Hope, II, 40 Martin, Agnes: Red Bird, 240
Children Are Threatened by a Nightingale, Get Him up on His Feet, 110 Kline, Franz: Chief, 177 Matisse, Henri: Dance (first version), 51; The
83 Grotjahn, Mark: Untitled (Red Butterfly 112), 351 Kokoschka, Oskar: Hans Tietze and Erica Knife Thrower from Jazz, 184; The Red
Evans, Walker: Penny Picture Display, Guimard, Hector: Entrance Gate to Paris Subway Tietze-Conrat, 42 Studio, 59
Savannah, Georgia, 133 (Mtropolitain) Station, 27 Kollwitz, Kthe: The Widow I, The Mothers, and Matta: The Vertigo of Eros, 164
EXPORT, VALIE: Zeit und Gegenzeit, 286 Gursky, Andreas: Bahrain I, 360 The Volunteers from the portfolio War, 95 Matta-Clark, Gordon: Bingo, 274
Farocki, Harun: Ernste Spiele I: Watson ist Guston, Philip: City Limits, 237 Koolhaas, Rem, and Elia Zenghelis: The McCarey, Leo: Duck Soup, 124
hin, 365 Hamilton, Richard: Pin-up, 209 Voluntary Prisoners from Exodus, or The Meireles, Cildo: Fio, 317
Fellini, Federico: 8, 233 Voluntary Prisoners of Architecture, 280 Mlis, Georges: Le Voyage dans la lune, 35
374 375
Mies van der Rohe, Ludwig: Farnsworth House, Picasso, Pablo: Les Demoiselles dAvignon, 50; Schtte, Thomas: Krieger, 372 Twombly, Cy: Leda and the Swan, 222
190; Friedrichstrasse Skyscraper Project, Girl before a Mirror, 137; Guitar, 52; The Schtte-Lihotzky, Grete: Frankfurt Kitchen, from United Architects: World Trade Center proposal,
Berlin, 103 Weeping Woman, I, state VII, 138 the Ginnheim-Hohenblick Housing Estate, 357
Minnelli, Vincente: Meet Me in St. Louis, 198 Polke, Sigmar: Hochsitz (Watchtower), 295 Frankfurt, 102 Various artists: Fluxkit, 226
Mir, Joan: The Beautiful Bird Revealing the Pollock, Jackson: One (Number 31, 1950), 167 Schwitters, Kurt: Merz Picture 32 A (The Cherry Venturi, Robert: Vanna Venturi House,
Unknown to a Pair of Lovers, 158; The Popova, Liubov Sergeievna: Painterly Picture), 96 Pennsylvania, 225
Birth of the World, 82 Architectonic, 65 Scorsese, Martin: Raging Bull, 299 Vertov, Dziga: The Man with the Movie Camera,
Mitchell, Joan: Ladybug, 197 Porter, Edwin S.: The Great Train Robbery, 19 Segal, George: The Bus Driver, 221 92
Moholy-Nagy, Lzl: Head, 104 Puryear, Martin: Greeds Trophy, 302 Sembene, Ousmane: Xala, 275 Villegl, Jacques de la: 122 rue du Temple, 282
Mondrian, Piet: Pier and Ocean (Sea and Rainer, Yvonne: Trio A (The Mind is a Muscle, Serra, Richard: Intersection II, 329; Untitled Vuillard, douard: Mother and Sister of the
Starry Sky), 53; Broadway Boogie Woogie, Part 1), 287 (14-part roller drawing), 290 Artist, 21
159 Rauschenberg, Robert: Bed, 181; Canto XXI: Seurat, Georges-Pierre: Evening, Honfleur, 24 Wagenfeld, Wilhelm, and Carl J. Jucker: Table
Monet, Claude: Water Lilies, 80 The Central Pit of Malebolge, The Giants, Severini, Gino: Armored Train in Action, 57 Lamp, 101
Moore, Henry: Large Torso: Arch, 256 from the series Thirty-four Illustrations for Sheeler, Charles: American Landscape, 122 Walker, Kara: Exodus of Confederates from
Morris, Robert: Untitled, 259 Dantes Inferno, 201 Sherman, Cindy: Untitled Film Still #21, 281 Atlanta, 355
Motherwell, Robert: Elegy to the Spanish Ray, Charles: Family Romance, 313 Shore, Stephen: Breakfast, Trails End Wall, Jeff: After Invisible Man by Ralph Ellison,
Republic, 108, 216 Ray, Satyajit: Pather Panchali, 204 Restaurant, Kanab, Utah, 267 the Prologue, 353
Munch, Edvard: Madonna, 32 Red Hat, Inc. See Pentagram Signac, Paul: Opus 217. Sur lmail dun fond Warhol, Andy: Campbells Soup Cans, 234;
Murnau, F. W.: Der letzte Mann (The Last Redon, Odilon: Roger and Angelica, 39 rhythmique des mesures et dangles, de Empire, 213; Gold Marilyn Monroe, 211
Laugh), 86 Reinfurt, David. See Kurgan tons et des teintes, portrait de M. Flix Watkins, Carleton: Late George Cling Peaches,
Murray, Elizabeth: Dis Pair, 303 Reinhardt, Ad: Abstract Painting, 215 Fnon en 1890, 16 18
Nauman, Bruce: Punch and Judy II Birth & Life Renoir, Jean: La Grande Illusion, 112 Siqueiros, David Alfaro: Collective Suicide, 147 Weber, Lois, and Phillips Smalley: Suspense, 75
& Sex & Death, 315; White Anger, Red Richter, Gerhard: October 18, 1977, 297 Smalley, Phillips. See Weber Weegee: Harry Maxwell Shot in a Car, 155
Danger, Yellow Peril, Black Death, 294 Rietveld, Gerrit: Red Blue Chair, 69 Smith, Tony: Die, 257 Weems, Carrie Mae: You Became a Scientific
Nevelson, Louise: Sky Cathedral, 194 Rist, Pipilotti: Ever Is Over All, 347 Smith, David: Australia, 175 Profile, A Negroid Type, an Anthropological
Newman, Barnett: Vir Heroicus Sublimis, 166 Rivera, Diego: Agrarian Leader Zapata, 146 Smithson, Robert: Corner Mirror with Coral, 242 Debate, & A Photographic Subject, 337
Noland, Cady: The American Trip, 314 Rockburne, Dorothea: Scalar, 251 Snow, Michael: Sink, 288 Wegman, William: Family Combinations, 245
Nolde, Emil: Prophet, 33 Rodchenko, Aleksandr: Assembling for a Spatial Information Design Lab. See Kurgan Weiner, Lawrence: Moved from Up Front, 271
OKeeffe, Georgia: Farmhouse Window and Demonstration, 93; Spatial Construction Steichen, Edward: Moonrise, Mamaroneck, New Welles, Orson: Citizen Kane, 154
Door, 119 Number 12, 91 York, 38 Weston, Edward: Mexico, D.F., 128
Ofili, Chris: Prince amongst Thieves, 350 Rodin, Auguste: Monument to Balzac, 20 Stella, Frank: The Marriage of Reason and White, Charles: Solid as a Rock (My God is
Oiticica, Hlio: Box Bolide 12,archeologic, Roller, Alfred: Poster for the 16th Secession Squalor, II, 203 Rock), 179
227 exhibition, 26 Sternberg, Josef von: The Blue Angel, 109 Whiteread, Rachel: Water Tower, 334
Oldenburg, Claus: Red Tights with Fragment 9, Rosenquist, James: F-111, 206 Stevens, George: Swing Time, 125 Wilke, Hannah: S.O.S.Starification Object
229 Rosler, Martha: Cleaning the Drapes, 273 Stieglitz, Alfred: Apples and Gable, Lake Series, 277
One Laptop per Child. See Pentagram Roth, Dieter: Literaturwurst, 236 George, 118 Williams, Sarah. See Kurgan
Oppenheim, Meret: Object (Le Djeuner en Rothko, Mark: No. 3/No. 13, 168 Still, Clyfford: 1944-N No. 2, 165 Wingquist, Sven: Self-Aligning Ball Bearing, 127
fourrure), 131 Rousseau, Henri: The Sleeping Gypsy, 23 Strand, Paul: Fifth Avenue, New York, 76 Winogrand, Garry: Centennial Ball, Metropolitan
Orozco, Gabriel: Yielding Stone, 327 Rozanova, Olga: Airplanes over the City, 64 Strausfeld, Lisa. See Pentagram Museum, New York, 252
Ozu, Yasujiro: Tokyo Monogatari (Tokyo Story), Ruscha, Edward: Oof, 224 Sudo, Reiko: Origami Pleat Scarf, 319 Winsor, Jackie: Burnt Piece, 262
169 Ryman, Robert: Twin, 219 Sutnar, Ladislav: Prototype for Build the Town Wool, Christopher: Untitled, 336
Paik, Nam June: Zen for TV, 289 Salcedo, Doris: Untitled, 339 building blocks, 173 Wright, Frank Lloyd: La Miniatura, Mrs. George
Pascali, Pino: Ponte (Bridge), 263 Sander, August: Member of Parliament and First Taeuber-Arp, Sophie: Tte Dada, 63 Madison Millard House, Pasadena, 81; Two
Penn, Irving: Large Sleeve (Sunny Harnett), Deputy of the Democratic Party (Johannes Takaaki, Okada. See Pentagram Clerestory Windows from Avery Coonley
New York, 199 Scheerer), 113 Talbot, William Henry Fox: Lace, 15 Playhouse, Illinois, 68
Pentagram, and Lisa Strausfeld, Christian Marc Sander, Katya. See Geyer Thorne, David. See Geyer Wyeth, Andrew: Christinas World, 170
Schmidt, Takaaki Okada, Walter Bender, Sapper, Richard: Tizio Table Lamp, 278 Tiravanija, Rirkrit: Untitled (Free/Still), 333 Yokoo, Tadanori: Japanese Society for the Rights
Eben Eliason, One Laptop per Child, Marco Schiele, Egon: Girl with Black Hair, 41 Tomatsu, Shomei: Man with Keloidal Scars, 217 of Authors, Composers, and Publishers,
Pesenti Gritti, Christopher Blizzard, Red Schlemmer, Oskar: Bauhaus Stairway, 99 Torres-Garca, Joaqun: Construction in White 307
Hat, Inc.: Sugar Interface for the XO Schmidt, Christian Marc. See Pentagram and Black, 134 Young, Arthur: Bell-47D1 Helicopter, 174
Laptop, 366 Schmidt, Michael: EIN-HEIT (U-NI-TY), 325 Toulouse-Lautrec, Henri de: Divan Japonaise, 30 Zenghelis, Elia. See Koolhaas
Picabia, Francis: I See Again in Memory My Schneemann, Carolee: Up to and Including Her Trockel, Rosemarie: Untitled, 301 Zittel, Andrea: A-Z Escape Vehicle, 335
Dear Udnie, 74 Limits, 276 Tuymans, Luc: Lumumba, 345
376 377
Acknowledgments Photography credits
The following are gratefully acknowledged for Editors Individual works of art appearing herein may be protected by copyright in the
United States of America, or elsewhere, and may not be reproduced in any form
2012 The Willem de Kooning Foundation/Artists Rights Society (ARS), New
York: p. 180. Laura Kurgan, Spatial Information Design Lab, GSAPP, Columbia
their important contributions to this book. Harriet Schoenholz Bee, Joanne Greenspun, without the permission of the rights holders. The copyright credit lines listed University: p. 362. L&M SERVICES B.V., The Hague, 20120506: p. 61.
below are in some instances provided at the request of the rights holders. In Estate of Helen Levitt: p. 153. 2012 Sol LeWitt/Artists Rights Society (ARS),
Cassandra Heliczer, Sarah McFadden, reproducing the images contained in this publication, the Museum obtained the New York: p. 244. Estate of Roy Lichtenstein: p. 208. 1961 Morris Louis:
Project managers Laura Morris permission of the rights holders whenever possible. Should the Museum have
been unable to locate the rights holder, notwithstanding good-faith efforts, it
p. 218. Billie Maciunas: p. 269. 2012 Man Ray Trust/Artists Rights Society
(ARS), New York/ADAGP, Paris: p. 108. 2012 Estate of John Marin/Artists
Marisa Beard, David Frankel, Christopher requests that any contact information concerning such rights holders be for- Rights Society (ARS), New York: p. 77. 2012 Estate of Agnes Martin/Artists
warded to that they may be contacted for future editions. Rights Society (ARS), New York: p. 240. 2012 Succession H. Matisse, Paris/
Hudson, Charles Kim, Kara Kirk, Peter Reed, Photography Artists Rights Society (ARS), New: pp. 51, 59, 184. 2012 Estate of Gordon
The following artists works in this book are all 2012 in their own names: Vito Matta-Clark/Artists Rights Society (ARS), New York: p. 274. Terry McCoy/
Marc Sapir Peter Butler, George Calvo, Robert Gebhardt, Acconci, Robert Adams, Jennifer Allora and Guillermo Calzadilla, Francis Als, El McCoy Projects, Inc.: p. 324. 1980 Metro-Goldwyn-Mayer Studios Inc., all
Thomas Griesel, Kate Keller, Paige Knight, Erik Anatsui, The Atlas Group/Walid Raad, Ay-O (p. 226), Matthew Barney, Hilla
Becher, Lee Bontecou, Gnter Brus, Daniel Buren, Cai Guo-Qiang, Janet Cardiff,
rights reserved: p. 299. 2012 Microsoft Corporation: p. 348. 2012 Suc-
cessi Mir/Artists Rights Society (ARS), New York/ADAGP, Paris: pp. 82, 158.
Picture selection Landsberg, Jonathan Muzikar, Mali Olatunji, Vija Celmins, Paul Chan, Chuck Close, Philip-Lorca diCorcia, Rineke Dijkstra, Tri- Estate of Joan Mitchell: p. 197. 2012 Mondrian/Holtzman Trust c/o HCR Inter-
sha Donnelly, Marlene Dumas, William Eggleston, Olafur Eliasson, Lee Fried- national USA: pp. 53, 159. 2012 The Munch Museum/The Munch-Ellingsen
Barry Bergdoll, Sabine Breitwieser, Connie John Wronn lander, Isa Genzken, Andrea Geyer, Robert Gober, Nan Goldin, Dan Graham, Mark Group/Artists Rights Society (ARS), New York: p. 32. 2012 Estate of Elizabeth
Grotjahn, David Hammons, Rachel Harrison, Sharon Hayes, Hans Hollein, Jenny Murray/Artists Rights Society (ARS), New York: p. 303. 2012 Estate of Louise
Butler, Christophe Cherix, Roxana Marcoci, Holzer, Ashley Hunt, Robert Irwin, Sanja Ivekovic , Joan Jonas, Alex Katz, Ells- Nevelson/Artists Rights Society (ARS), New York: p. 194. I NY used with per-
worth Kelly, William Kentridge, Alison Knowles (p. 226), Rem Koolhaas, Jeff mission of the NYS Dept. of Economic Development: p. 279. 2012 Barnett
Sarah Meister, Eva Respini, Rajendra Roy, Design
Koons, Yayoi Kusama, Louise Lawler, Jacob Lawrence, Glenn Ligon, Cildo Meire- Newman Foundation/Artists Rights Society (ARS), New York: p. 166. Nolde
Ann Temkin Katy Homans, Tina Henderson (typesetting) les, Robert Morris, Bruce Nauman, Cady Noland, Stiftung Seebuell: p. 33. 2012 Projeto Hlio Oiticica: p. 227. 2012 The
Chris Ofili, Claes Oldenburg, Pentagram, Martin Puryear, Charles Ray, Gerhard Georgia OKeeffe Foundation/Artists Rights Society (ARS), New York: p. 119.
Richter, Pipilotti Rist, Dorothea Rockburne, Martha Rosler, Edward Ruscha, Rob- 1996 Orion Pictures Corporation, all rights reserved: p. 342. 2012 Estate of
Production ert Ryman, Doris Salcedo, Katya Sander, Richard Sapper, Michael Schmidt, Car- Nam June Paik: pp. 226, 289. 1974 Paramount Pictures Corporation: p. 285.
Picture sequence olee Schneemann, Richard Serra, Cindy Sherman, Mieko Shiomi (p. 226), Ste- 1933 Paramount Productions, Inc.: p. 124. 2012 Estate of Pablo Picasso/
Mary Lea Bandy, John Elderfield, David Frankel, Matthew Pimm phen Shore, Michael Snow, Frank Stella, Reiko Sudo, Rirkrit Tiravanija, David Artists Rights Society (ARS), New York: pp. 50, 52, 137, 138. 2012 Estate of
Thorne, Shomei Tomatsu, Rosemarie Trockel, Luc Tuymans, Robert Sigmar Polke/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Ger-
Beatrice Kernan Venturi, Kara Walker, Jeff Wall, Carrie Mae Weems, William Wegman, Rachel many: p. 295. 2012 Pollock-Krasner Foundation/Artists Rights Society (ARS),
Whiteread, Jackie Winsor, Christopher Wool, Tadanori Yokoo, Andrea Zittel New York:
Associates
p. 65. Yvonne Rainer: p. 287. Robert Rauschenberg Foundation/Licensed
Authors Genevieve Allison, Klaus Biesenbach, Connie The following copyrights are also claimed: 2012 The Ansel Adams Publishing by VAGA, New York: pp. 181, 201. 2012 Estate of Ad Reinhardt/Artists Rights
Rights Trust: p. 150. 2012 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York: p. 215. James Rosenquist/Licensed by VAGA, New
Introduction: Glenn D. Lowry. Architecture Butler, Marina Chao, Leah Dickerman, Starr Society (ARS), New York: p. 107. Carl Andre/Licensed by VAGA, New York: p. York: p. 206. 2012 Dieter Roth Estate: p. 236. 1998 Kate Rothko Prizel &
255. Aperture Foundation, Inc., Paul Strand Archive: p. 76. The Estate of Christopher Rothko/Artists Rights Society (ARS), New York:
and Design: Paola Antonelli, Barry Bergdoll, Figura, Paul Galloway, Lucy Gallun, Blair Diane Arbus: p. 212. Archigram 1964: p. 246. 2012 Artists Rights Society p. 168. 2012 Estate Oskar Schlemmer, Munich: p. 99. The George and
(ARS), New York: pp. 146, 203 241, 251, 259, 271, 276, 283, 290, 315, Helen Segal Foundation/Licensed by VAGA, New York: p. 221. 2012 Gino Sev-
Bevin Cline, Pedro Gadanho, Juliet Kinchin, Hartzell, Jodi Hauptman, Caitlin Kelly, Danielle 329. 2012 Artists Rights Society (ARS), New York/ADAGP, Paris: pp. 16, 21, erini/Artists Rights Society (ARS), New York/ADAGP, Paris: p. 57. Estate of
Luisa Lorch, Matilda McQuaid, Christopher King, Stephanie Kingpetcharat, Tasha Lutek, 37, 43, 48, 49, 54, 58, 70, 75, 83, 87, 136, 141, 142, 148, 162, 164, 186,
188, 210, 226 (Ben Vautier), 268, 270, 282. 2012 Artists Rights Society
Charles Sheeler: p. 122. 2012 David Alfaro Siqueiros/Artists Rights Society
(ARS), New York/SOMAAP, Mexico: p. 147. Art Estate of David Smith/Licensed
Mount, Peter Reed, Terence Riley. Drawings: Cara Manes, Anne Morra, John Prochilo, Justin (ARS), New York/ADAGP, Paris/Estate of Marcel Duchamp: p. 71, 73. 2012 by VAGA, New York, NY: p. 175. 2012 Estate of Tony Smith/Artists Rights
Artists Rights Society (ARS), New York/ADAGP, Paris/FLC: p. 123. 2012 Artists Society (ARS), New York: p. 257. Estate of Robert Smithson/Licensed by
Esther Adler, Mary Chan, Magdalena Rigby, Ashley Swinnerton, Lilian Tone, Rights Society (ARS), New York/Beeldrecht, Amsterdam: p. 69. 2012 Artists VAGA, New York: p. 242. Permission The Estate of Edward Steichen: p. 38.
Rights Society (ARS), New York/DACS, London: p. 209. 2012 Artists Rights 2012 Estate of Alfred Stieglitz/Artists Rights Society (ARS), New York: p. 118.
Dobrowski, Samantha Friedman, Geaninne Stephanie Weber, Catherine Wheeler, Society (ARS), New York/Pro Litteris, Zurich: pp. 42, 131. 2012 Artists Rights the Clyfford Still Estate: p. 165. 1937 STUDIOCANAL: p. 112. 2012
Society (ARS), New York/SABAM, Brussels: pp. 29, 231. 2012 Artists Rights Joaqun Torres-Garca: 1946 Twentieth Century Fox, all rights reserved: p. 171.
Guimaraes, Kristin Helmick-Brunet, Laura Makiko Wholey, Ashley Young Society (ARS), New York/SIAE, Rome: pp. 62, 230. 2012 Artists Rights Soci- 2012 Cy Twombly Foundation: p. 222. 1936
ety (ARS), New York/VEGAP, Spain: p. 134. Warner Bros.: p. 125; 1941 Warner Bros.: p. 154; 1944 Warner Bros.:
Hoptman, Jordan Kantor, Ingrid Langston, 2012 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn: pp. 34, 46, p. 198; 1968 Warner Bros.: p. 207; 1992 Warner Bros.: p. 328; all
Angela Meredith-Jones, John Prochilo, Margit 63, 66, 72, 80, 95, 96, 98, 103, 104, 106, 111, 113, 139, 190, 226 (for
George Brecht), 264, 301, 349, 360, 369, 372. 2012 Estate of Francis
photos courtesy Warner Bros. 2012 Andy Warhol Foundation for the Visual
Arts/Artists Rights Society (ARS), New York: front cover, pp. 211, 213, 234.
Rowell, Rachel Warner. Film: Mary Lea Bandy, Bacon/Artists Rights Society (ARS), New York/DACS, London: p. 187. Romare Weegee/International Center of Photography: p. 155. 1958 The Charles
Bearden Foundation/Licensed by VAGA, New York: p. 266. 2012 Caroline Bos: White Archives: p. 179. 2012 Marsie, Emanuelle, Damon, and Andrew Schar-
Sally Berger, Mary Corliss, John Harris, Jenny p. 357. 2012 Louise Bourgeois Trust: pp. 161, 344. Estate BrassaRMN lattHannah Wilke Collection and Archive, Los Angeles: p. 277. The Estate of
Grand Palais: p. 140. 2012 Estate of Manuel Alvarez Bravo/Artists Rights Garry Winogrand, courtesy Fraenkel Gallery: p. 252. 2012 Frank Lloyd Wright
He, Steven Higgins, Jytte Jensen, Laurence Society (ARS), New York/ADAGP, Paris: p. 143. 2012 Burle Marx & Cia. Ltda: Foundation/Artists Rights Society (ARS), New York: pp/ 68, 81. Photo 2012 Yi-
p. 191. 2012 Calder Foundation, New York/Artists Rights Society (ARS), New Chun Wu/The Museum of Modern Art, New York: p. 370.
Kardish, Anne Morra, Josh Siegel, Charles York: p. 135. 2012 The Estate of Harry Callahan: p. 178. 2012 Henri Cart- Andrew Wyeth: p. 336.
Silver. Media and Performance: Sabine ier-Bresson/Magnum Photos: p. 132. 1981 Center for Creative Photography,
Arizona Board of Regents: p. 128. World of Lygia Clark Cultural Association: p. The following photographs are by and courtesy: El Anatsui and Jack Shain-
Breitwieser, Martin Hartung, Ana Janevski, 62. Columbia Pictures Corp.: p. 152. The Joseph and Robert Cornell man Gallery, New York: p. 371. Archive LAttico: p. 263. Janet Cardiff, Luhring
Memorial Foundation/Licensed by VAGA, New York: 149. 2012 Salvador Dal, Augustine, New York, and Galerie Barbara Weiss, Berlin: p. 340. Fondation Henri
Barbara London, Leora Morinis, Erica Papernik, Gala-Salvador Dal Foundation/Artists Rights Society (ARS), New York: p. 130. Cartier-Bresson, Paris: p. 132. Corinth Films: pp. 182, 233. Heike Curtze Gallery:
Estate of Stuart Davis/Licensed by VAGA, New York: p. 126. 2012 Sherry p. 308. Electronic Arts Intermix (EAI), New York: p. 276. Fraenkel Gallery, San
Stephanie Weber. Painting and Sculpture: Turner DeCarava: p. 192. Dedalus Foundation, Inc./Licensed by VAGA, New Francisco: p. 284. Tavia Ito: p. 151. Kadokwawa Shoten Co., Ltd.: p. 176. MGM
York, NY: p. 216. 2012 The Estate of Richard Diebenkorn: p. 261. TM Mar- Media Licensing: pp. 299, 342. New Yorker Films: p. 275. Chris Ofili and David
Doryun Chong, Fereshteh Daftari, Leah lene Dietrich Collection GmbH, Munich: p. 109. Disney: pp. 114, 163. Zwirner, New York: p. 350. Orcutt & Van Der Putten, courtesy Andrea Rosen Gal-
Dickerman, David Frankel, Claire Henry, Megan 2012 Walker Evans Archive, The Metropolitan Museum of Art: p. 133. 2012
VALIE EXPORT/Artists Rights Society (ARS), New York/VBK, Austria: p. 286.
lery, New York: p. 335. Gabriel Orozco and Marian Goodman Gallery, New York: p.
327. PPOW, New York: p. 276. Sonnabend Gallery, New York: p. 249. Matthew
Heuer, Laura Hoptman, Roxana Marcoci, 2012 Harun Farocki Filmproduktion: p. 365. Fischinger Trust, photo courtesy Suib: title page, p. 334. Video Data Bank: p. 287. James Welling: p. 129. David
Fischinger Trust: p. 195. 2012 Estate of Dan Flavin/Artists Rights Society Zwirner, New York: p. 331.
Angela Meredith-Jones, Maria Jos Montalva, (ARS), New York: p. 250. 2012 Estate of Sam Francis/Artists Rights Society
(ARS), New York: p. 196. Robert Frank, from The Americans: p. 200. 2012 The Museum of Modern Art, Department of Imaging and Visual Resources. Photo
Paulina Pobocha, Kristin Romberg, Ann Temkin, Helen Frankenthaler/Artists Rights Society (ARS), New York: p. 193. The David Allison: pp. 300, 351. Photo Peter Butler: pp. 29, 138, 226, 269. Photo
Lucian Freud Archive: p. 318. 2012 Ellen Gallagher and Two Palms Press: p. George Calvo: p. 63. Photo Robert Gerhardt: pp. 34, 98, 201. Photo Thomas
Lilian Tone, Anne Umland. Photography: Marina 367. Gaumont, photo Production Gaumont, 1996: p. 311. 2012 Fun- Griesel: pp. 23, 24, 26, 37, 43, 51, 54, 57, 61, 62, 87, 101, 110, 117, 123,
Chao, Peter Galassi, Lucy Gallun, Susan dacin Gego: p. 293. The Felix Gonzalez-Torres Foundation: p. 332. 2012 134, 173, 179, 181, 197, 227, 236, 255, 272, 291, 301, 310, 317, 319,
Estate of Arshile Gorky/Artists Rights Society (ARS), New York: p. 160. Estate 326, 340, 341, 34446, 359, 369. Photo Kate Keller: pp. 56, 62, 66, 72,
Kismaric, Roxana Marcoci, Sarah Meister, Eva of George Grosz/Licensed by VAGA, New York: p. 110. 2012 The Estate of 82, 83, 131, 136, 156, 158, 208, 253, 261, 313, 315. Photo Paige Knight:
Philip Guston: p. 237. 2012 C. Herscovici, Brussels/Artists Rights Society pp. 14, 16, 47, 50, 70, 71, 111, 157, 162, 170, 223, 237, 295. Photo Erik
Respini. Prints and Illustrated Books: Katherine (ARS), New York: p. 88. 2012 Estate of Eva Hesse, Galerie Hauser & Wirth, Landsberg: pp. 15, 128, 192, 258, 325, 339. Photo Jonathan Muzikar: pp. 40,
Zurich: p. 243. 2012 Hannah Hch/Artists Rights Society (ARS), New York/VG 52, 53, 102, 144, 159, 206, 220, 230, 242, 271, 290, 296, 316, 320, 327,
Alcauskas, Bild-Kunst, Bonn: p. 97. 2007 Timothy Hursley: back cover. International 330, 333, 337, 343, 354, 362, 363, 365, 371. Photo Mali Olatunji: pp. 84,
Center of Photography/Magnum Photos: p. 144. Jasper Johns/Licensed by 149, 187, 210, 228. Photo John Wronn: pp. 21, 22, 25, 27, 36, 38, 41, 46,
Kim Conaty, Starr Figura, Judy Hecker, Carol VAGA, New York: pp. 202, 223. Judd Foundation/Licensed by VAGA, New York: 48, 58, 60, 65, 67, 73, 75, 81, 96, 97, 106, 122, 126, 130, 135, 137, 142,
Smith, Sarah Suzuki, Gretchen Wagner p. 258. 2012 Frida Kahlo/Artists Rights Society (ARS), New York/SOMAAP, 143, 146, 153, 160, 16568, 174, 177, 178, 180, 185, 186, 188, 194,
Mexico: p. 156. 2012 Estate of Louis I. Kahn: p. 254. Alex Katz/Licensed 196, 202, 209, 211, 215, 243, 249, 250, 251, 256, 263, 266, 267, 293,
by VAGA, New York: p. 238. 2012 Mike Kelley Foundation for the Arts: p. 310. 297, 302, 303, 306, 314, 338, 350, 355, 357, 358, 367, 368, 372
2012 Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne: p. 323.
2012 The Franz Kline Estate/Artists Rights Society (ARS), New York: p. 177.
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