1. Art 3101 Powerpoint Two Powerpoint Presentation Two Dr. David Ludley

2. William Wegman, “On Set” 1994 Color Polaroid, 24 x 20 inches © 2005 William Wegman Courtesy the Artist

3. William Wegman, “Canon Aside,” diptych 2000 Color Polaroid, 24 x 20 inches Top image of vertical diptych © 2005 William Wegman Courtesy the Artist

4. William Wegman, “Miss Mit” 1993 Color Polaroid, 24 x 20 inches © 2005 William Wegman Courtesy the Artist

5. William Wegman, “Stepmother” 1992 Color Polaroid, 24 x 20 inches © 2005 William Wegman Courtesy the Artist

6. Bruce Nauman, “One Hun- dred Live and Die” 1984 Neon tubing mounted on four metal monoliths, 118 x 132 1/4 x 21 inches Collection Fukake Publishing Co., Ltd., Naoshima Contemporary Art Museum, Kagawa, Japan Courtesy SperoneSperone Westwater, New YorkWestwater, New York, © Bruce Nauman/Artists Rights Society (ARS), New York. "I'm surprised when the work appears beautiful, and very pleased. And I think work can be very good and very successful without being able to call it beautiful, although I'm not clear about that. The work is good when it has a certain completeness, and when it's got a certain completeness, then it's beautiful."— Bruce Nauman

7. Bruce Nauman, “Violins Violence Silence” 1981-1982 Neon tubing with clear glass tubing suspension frame, 60 1/2 x 66 1/2 x 6 inches Oliver-Hoffmann Family Collection, Chicago Courtesy Leo Castelli Gallery, New York, © Bruce Nauman/Artists Rights Society (ARS), New York

8. Bruce Nauman,“Room with My Soul Left Out, Room That Does Not Care” 1984, Celotex, steel grate, yellow lights, 408 x 576 x 366 Flick Collection. Courtesy Sperone Westwater, New York, © BruceSperone Westwater, New York Nauman/Artists Rights Society (ARS), New York "[Living in New Mexico] lets me do the kinds of things outside that I couldn't do if I lived in town, in the city...it helps me to have a sense of place and security to go in the studio, because that's the place where you make yourself insecure.“ — Bruce Nauman

9. Bruce Nauman, “Vices and Virtues,” installation views, 1983-1988 Neon tubing and clear glass tubing, mounted on aluminum support grid, height 84 Inches.The Stuart Collection, University of California, San Diego. Purchase with funds from the Staurt Foundation and the National Endowment for the Arts. Courtesy Sperone Westwater, New YorkSperone Westwater, New York, © Bruce Nauman/Artists Rights Society (ARS), New York

10. Bruce Nauman, “Good Boy, Bad Boy,” details,1985. Two color video monitors, two videotape players, two videotapes (color, sound), dimensions variable. Edition of 40. Courtesy Donald Young Gallery,Donald Young Gallery, ChicagoChicago, © Bruce Nauman/Artists Rights Society (ARS), New York "There wasn't a specific duration...this thing can just repeat and repeat and repeat, and you don't have to sit and watch the whole thing. You can watch for a while, leave and go have lunch or come back in a week, and it's just going on. And I really liked that idea of the thing just being there. The idea being there so that it became almost like an object that was there, that you could go back and visit whenever you wanted to."— Bruce Nauman

11. Bruce Nauman,“Clown Torture,” installation view,1987 Four color video monitors, four speakers, four videotape players, two video projectors, four videotapes (color, sound), dimensions variable. Courtesy DonaldDonald Young Gallery, Chicago Young Gallery, Chicago, © Bruce Nauman/Artists Rights Society (ARS), New York

12. Kerry James Marshall, "Better Homes Better Gardens“ 1994. Acrylic and collage on unstretched canvas, 100 x 142 inches. Denver Art Museum, Special Fund. Courtesy Jack Shainman Gallery, New York. "The subject matter seemsJack Shainman Gallery, New York in some ways less dramatic than the kinds of subjects represented in traditional history painting. But that's also a part of what the painting is about. It's about those figures being represented that way: the relationship between this representation of figures and the absence of those kinds of representations in that historical tradition of grand narrative history painting."— Kerry James Marshall

13. Kerry James Marshall, "Many Mansions“ 1994. Acrylic and collage on unstretched canvas, 114 x 135 inches. Art Institute of Chicago, Chicago, IL. Courtesy Jack ShainmanJack Shainman Gallery, New YorkGallery, New York. "The painting is built around what you could call a very classically Renaissance, architectural, or geometric structure. The most obvious thing you can see is this pyramidal, triangulated structure that the figures are fitted into...One of the reasons I used that structure was because when I started out the artists and works that I really admired—like Géricault's 'The [Raft] of the Medusa'—that whole genre of history painting, that grand narrative style of painting, was something that I really wanted to position my work in relation to. And so in order to achieve a similar kind of authority that those paintings had... I had to adopt the similar structural format to develop my painting."— Kerry James Marshall

14. Kerry James Marshall, “Untitled (Altgeld Gardens)” 1995. Acrylic and collage on can- vas, 78 1/2 x 103 inches. Johnson County Community College, Overland Park, KS Courtesy Jack Shainman Gallery, New York. "The initial development of thatJack Shainman Gallery, New York unequivocally black, emphatically black figure was so that I would use them as figures that function rhetorically in the painting...And one of the things that I had been thinking about when I started to develop that figure was the way in which the folk and folklore pf blackness always seemed to carry a derogatory connotation...A part of what I was thinking to do with my image was to reclaim the images of blackness as an emblem of power, instead of an image of derision.“ — Kerry James Marshall

15. Kerry James Marshall, "Our Town“ 1995. Acrylic and collage on unstretched canvas, 100 x 124 inches. Collection of the artist, Chicago. Courtesy Jack Shainman Gallery,Jack Shainman Gallery, New YorkNew York. "The condition of invisibility that Ralph Ellison describes [in 'Invisible Man'] is not a kind of transparency, but it's a psychological invisibility. It's where the presence of black people was often not wanted and denied in the American mindset. And so what I set out to do was to develop a figure or a form that would represent that condition of invisibility, where you had an incredible presence, but there was a way in which you could sometimes be seen and not seen at the same time.“ — Kerry James Marshall

16. Kerry James Marshall, “RHYTHM MASTR,” prepara- tory drawing,1999-2000. Photocopy of ink drawing, and design marker on paper, 17 x 11 inches. Courtesy the Artist "I thought what I would do with this project would be to take a form that is, in some ways, already undervalued in America, take a subject that's under- represented, and try to develop a comic strip with a set of characters that had cultural significance but also allowed for a kind of imaginative play and inspiration. What I hit on as a subject was this idea that, for black people, the set of super heroes we come to know any- thing about have a lot to do with West African religious gods in a sense."— Kerry James Marshall

17. Kerry James Marshall, “Souvenir II” 1997 Acrylic, paper, collage, and glitter on unstretched canvas, 108 x 120 inches. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts. Courtesy Jack Shainman Gallery, New YorkNew York. "I don't think that simply because I am an artist, or because anybody is an artist, that people ought to give their attention to the things that we've made. In some ways we have to earn our audience's attention, and one of the ways we earn our audience's attention is to make things that are phenomenologically fascinating." — Kerry James Marshall

18. Kerry James Marshall, “Souvenir IV”1998. Acrylic, collage, and glitter on unstretched canvas, 108 x 156 inches. Whitney Museum of American Art, New York. Purchase with funds from the Painting and Sculpture Committee Photo by Tom Vand Eynde. Courtesy Jack Shainman Gallery, New YorkJack Shainman Gallery, New York. "The way I see beauty is as a state of being for a thing that has a kind of fascination about it, or as a thing that presents a certain kind of fascination to you as a viewer. It's certainly something that's captivating; it's something's that's compelling. Beauty is a phenomenological experience, and a basic component of it is intrigue."— Kerry James Marshall

19. Kerry James Marshall, "Mementos"1998. Installation at the Renaissance Society, University of Chicago. Over-sized stamps and "Souvenir" series. Courtesy Jack ShainmanJack Shainman Gallery, New YorkGallery, New York. "I wouldn't say that I never think about beauty as an aesthetic issue. But I certainly think it's a much more complicated issue then it's imagined to be. I think sometimes when people think of beauty they think of prettiness as a sign of beauty, but it's a lot more complicated and a lot deeper than that."— Kerry James Marshall

20. Maya Lin, “Crater Series,” detail. 1997 11 beeswax sculptures, dimensions variable, glass shelf 1 1/2 x 96 x 10 inches Courtesy Gagosian Gallery, New York "I think for me, my sculptures deal withGagosian Gallery, New York naturally occurring phenomena, and they're embedded and very closely aligned with geology and landscape and natural earth formations." — Maya Lin

21. Maya Lin, “Crater Series” 1997. 11 beeswax sculptures, dimensions variable, glass shelf 1 1/2 x 96 x 10 inches. Courtesy Gagosian Gallery, New York. "I have two sides: creativityGagosian Gallery, New York and the architecture. It's got ideas about framing the landscape, being ecologically and environmentally sensitive, not that a lot of the artworks aren't using recycled materials and about nature in another way. But formally, I liked that they're different, that I don't want my architecture looking like my sculptures and I don't want the sculptures being at all architectonic in their form.“ — Maya Lin

22. Maya Lin, "Rock Field“. 1997 46 glass components, dimensions variable Installation at the South Eastern Center for Contemporary Art, Winston- Salem, North Carolina. Photo by Jackson Smith. Courtesy the Southeastern Center for Contemporary Art and GagosianGagosian Gallery, New YorkGallery, New York. "I would say that so much of my work deals with the plastic medium of clay... My childhood is the '60s, and the notion of what plastic, fluid, design shapes were beginning to originate out of there, again, plays into the back of your head. But I think for me it was probably my father's potting that I would watch. That's something I really, really played with as a child and was probably more of an influence." — Maya Lin

23. Maya Lin, "Vietnam Veterans Memorial" 1982 Black granite, each wall: 246 feet long, 10 1/2 feet high where the two sides come together, Chevron shaped. More than 58,000 names, in order of death/disappearance. Washington D.C. Courtesy the National Park Service. 1959 and 1975.

24. Maya Lin, "Civil Rights Memorial“ 1989 Black granite, water table: 11 feet 6 inches in diameter, water wall: 40 feet long x 10 feet high The Southern Poverty Law Center, Montgomery, Alabama Photo by John O''Hagan Courtesy The Southern Poverty Law Center.

25. Maya Lin, "Avalanche" 1997 Tempered glass, 10 x 19 x 21 Feet. Installation at the South Eastern Center for Contemporary Art, Winston- Salem, North Carolina. Photo by Jackson Smith. Courtesy the Southeastern Center for Contemporary Art and Gagosian Gallery, New York Gagosian Gallery, New York "The mediums I use range widely, from broken glass to water to granite. And I think formalistically, each time out with these large scale works, they can look very different. But there are some very strong underlying ideas that go throughout the works. One of them is time, one of them is an idea about landscape and the earth, or natural states or phenomena." — Maya Lin

26. Maya Lin, "Avalanche," Detail of previous slide, 1997 Tempered glass, 10 x 19 x 21 Feet. Installation at the South Eastern Center for Contemporary Art, Winston- Salem, North Carolina. Photo by Jackson Smith. Courtesy the Southeastern Center for Contemporary Art and Gagosian Gallery, New York Gagosian Gallery, New York "I think art is wonderful because it's everything you've ever known and everything you've ever done, somehow percolating up, working with ideas that you might want to explore. And then you can just wake up one morning and know what you want to do. The hissing of the heat." — Maya Lin

27. Maya Lin, "The Wave Field“ 1995. Shaped earth, 100 x 100 feet, University of Michigan, Ann Arbor, Michigan. "With the 'Wave Field' in Michigan, it was for an aerospace engineering building and I had no idea what I was going to do. My site could have been in the building they were building or outside. And I just read up on aerospace and flight for three months and then came up with the idea of the 'Wave Field,' which is basically a book image of a natural occurring water wave that came about because flight requires resistance, and that led to turbulence studies, which led to fluid dynamics." — Maya Lin

28. Louise Bourgeois, “Cell (Eyes and Mirrors)” 1989-1993 Marble, mirrors, steel and glass, 93 x 83 x 86 inches Collection Tate Gallery, London Photo by Peter Bellamy Courtesy Cheim & Read, New YorkCheim & Read, New York

29. Louise Bourgeois, “Femme Volage (Fickle Woman)” 1951 Painted wood, 72 x 17 1/2 x 13 inches Guggenheim Museum, New York Photo by Allan Fickelman Courtesy Cheim & Read, New YorkCheim & Read, New York “Thin scraps of wood on a central shaft to show the ways a body pivoting on itself can be scattered in the winds as if desperately seeking attachment to another body.”

30. Louise Bourgeois, “Femme Volage (Fickle Woman),” Detail of previous slide, 1951 Painted wood, 72 x 17 1/2 x 13 inches Guggenheim Museum, New York Photo by Allan Fickelman Courtesy Cheim & Read,Cheim & Read, New York

31. Louise Bourgeois, “Spiral Woman” 1984, Bronze and slate disc; bronze: 11 1/2 x 3 1/2 x 4 1/2 inches, disc diameter: 1 x 34 3/4 inches Collection Elaine Dannheiser, New York Photo by Allan Fickelman Courtesy Cheim & Read, New YorkCheim & Read, New York “Fleshy coils that seem to cacoon and smother a woman perilously suspended in mid air. A lot to do with vulnerability.”

32. Louise Bourgeois, “Spiral” 1994 Watercolor, ink, and color pencil on paper, 13 1/4 x 9 1/2 inches Photo by Beth Phillips Courtesy the Artist “Vertigo and vulnerability. A gyrating vortex surrounded by emptiness. It is an image of flux and disorientation, of all consuming vertigo, of an emotional vacuum, and of a being that cannot locate itself and therefore cannot come to rest.”

33. Louise Bourgeois, “The Nest” 1994, Steel, 101 x 189 x 158 inches Museum of Modern Art, San Francisco, CA Courtesy Louise Bourgeois archive

34. Louise Bourgeois, “One and Others” 1955. Painted wood, 18 1/4 x 20 x 16 3/4 inches Whitney Museum of American Art, New York Photo by Jeffrey Clements Courtesy Cheim & Read, New YorkCheim & Read, New York

35. Louise Bourgeois, “Articulated Lair” 1986 Painted steel, rubber, and stool, 132 x 132 x 132 inches The Museum of Modern Art, New York Gift of Lily Auchincloss and of the artist in honor of Deborah Wye Photo by Peter Bellamy Courtesy Cheim & Read, New YorkCheim & Read, New York

36. Barbara Kruger, “Untitled (When I hear the world culture, I take out my checkbook)” 1985 Gelatin silver print 138 x 60 inches Collection of Eileen and Peter Norton, Santa Monica, California Courtesy Mary Boone Gallery, New YorkMary Boone Gallery, New York

37. Barbara Kruger, “Untitled (I shop, therefore I am)” 1987 Photographic silkscreen on vinyl, 111 x 113 inches Courtesy Mary Boone Gallery,Mary Boone Gallery, New York

38. Barbara Kruger, “Untitled (Your body is a battleground)” 1990 Billboard, commissioned by the Wexner Center for the Arts, Columbus, Ohio, for its “New Works for New Spaces: Into the Nineties” exhibition Photo by Fredrik Marsh Courtesy Wexner Center forWexner Center for the Arts, Columbus, Ohio

39. Michael Ray Charles Michael Ray Charles’ paintings investigate stereotypes drawn from the history of American advertising, product packaging, billboards, and commercials. Charles draws comparisons between Sambo, Mammy, and minstrel images of an earlier era and contemporary portrayals of black youths, celebrities, and athletes—images he sees as a constant in the American subconscious. The Artist’s Words: "I've heard a number of things, been called the sellout, the 'Chris Rock' of the art world (I like that one by the way). And people accuse me and question my blackness—they accuse me of making paintings that deal with these images because 'white folks want to see these images' And I'm saying to myself, 'Boy, I don't know,' in that white folks wanted to see these images to laugh at?“ — Michael Ray Charles What do YOU think?

40. Michael Ray Charles, “(Forever Free) ‘Servin with a smile’” 1994, Acrylic latex and *copper penny on paper, 40 x 26 inches Private collection, Photo by Beth Phillips Courtesy Tony Shafrazi Gallery, New YorkTony Shafrazi Gallery, New York The Artist’s Words: "I've seen some black folks refer to these images as black folks. I've seen and heard white folk refer to these images as black folks. And it's really disturbing. They don't say images, they don't say representations, whether grotesque or accurate or abstracted...That's troublesome because... they're images that are constructed, they're both black and white, conceived in a white mind and believed in the black mind." — Michael Ray Charles *SEE THE EXPLANATION OF THE COPPER PENNY IN EACH OF HIS WORKS IN THE BOOK.

41. Michael Ray Charles, “(Forever Free) Buy Black!” 1996. Acrylic latex, stain, and copper penny on paper, 30 3/4 x 24 1/4 inches. Private collection Photo by Beth Phillips. Courtesy Tony Shafrazi Gallery, New York Tony Shafrazi Gallery, New York The Artist’s Words: "You've got to think of how these images were used in American culture...they were everywhere and they were used to market anything from oils to ink, from food products to clothing...People operate from an emotional place when they see these images because they think of the past as being something that happened and that the concepts don't linger. But these concepts continue to affect us in many ways, in modern concepts of advertising as well as in contemporary advertisements." — Michael Ray Charles

42. Michael Ray Charles, “Before Black (To See or Not to See)” 1997, Acrylic latex, stain, and copper penny on paper, 60 x 37 1/2 inches. Private collection. Photo by Beth Phillips. Courtesy Tony Shafrazi Gallery,Tony Shafrazi Gallery, New YorkNew York. The Artist’s words: "Some black folks really see the images and say, 'That's us, but at the same time that's not us.' So they're caught right in between it. Some white folks see the images and smile and laugh, and some are really concerned and disturbed. And some are quite confused, just as confused as blacks are..." — Michael Ray Charles

43. Michael Ray Charles, “After Black (To See or Not to See)” 1997. Acrylic latex, stain, and copper penny on paper, 60 x 36 inches Private collection. Photo by Beth Phillips Courtesy Tony Shafrazi Gallery, New YorkTony Shafrazi Gallery, New York The Artist’s words: "I think that these images are just as much white as they are black. They've been projected and internalized. I think people have accepted them to be, you know, representational, an accurate representation." — Michael Ray Charles

44. Michael Ray Charles, “(Liberty Brothers Permanent Daily Circus) Blue Period” 1995 Acrylic latex, oil wash, stain, and copper penny on paper, 60 1/2 x 36 1/2 inches Private collection. Photo by Beth Phillips Courtesy Tony Shafrazi Gallery, New YorkTony Shafrazi Gallery, New York The Artist’s Words: "One could think about notions of blackness and how they're linked to entertainment, athleticism, sports (which has become another form of entertainment) but never intellectualism for the most part. And if that is the case, it's very rare. But for the most part, collectively, I would say that blackness continues to hover around this comfort zone of entertainment—providers of entertainment." — Michael Ray Charles

45. Matthew Barney, “CREMASTER 1” 1995. Production still. Photo by Peter Strietmann, © 1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New York The Artist’s words: "A lot of these angles—aside from the moving camera car are really about trying toBarbara Gladstone Gallery, New York mimic broadcast sports angles in order to anchor the scene, to sort of normalize it before it becomes abstracted, which is something we do often, and it happens a lot with sports references that are made in all the projects.“ — Matthew Barney

46. Matthew Barney, “CREMASTER 1” 1995. Production still. Photo by Peter Strietmann, © 1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New York The Artist’s words: "If there was a structure that was greater than the "CREMASTER"Barbara Gladstone Gallery, New York structure, it would have to be something like UPS—something that's fleet oriented, that would have air transport and a kind of local transport to really finish that line. You have a kind of consistent color in the way that UPS is brown and the logo is gold."— Matthew Barney

47. Matthew Barney, CREMASTER 1” 1995. Production still. Photo by Peter Strietmann, © 1995 Matthew Barney. Courtesy Barbara Gladstone Gallery, New York "In the interest of creating a system that has an internal logic, I think there are points in theBarbara Gladstone Gallery, New York story where biological systems are referred to or used as art direction in a certain way. I've always thought of the project as a sort of sexually driven digestive system, that it was a consumer and a producer of matter. And it is desire driven, rather than driven by hunger or anything like that. It's a desire in the sense of a kind of sexual desire."— Matthew Barney

48. Matthew Barney, “CREMASTER 2” 1999 Production still. Photo by Michael James O’Brien, © 1999 Matthew Barney. Courtesy BarbaraBarbara Gladstone Gallery, New York The Artist’s words: "The stories themselves are some- what interchangeable. In a sense they're kind of carriers. In other words, "CREMASTER 2" could have had a couple of other stories other than Norman Mailer's "The Executioner's Song" to carry it. "The Executioner's Song" was its carrier, in that the Rocky Mountains were the real story." — Matthew Barney

49. Matthew Barney, “CREMASTER 4” 1994, Production still. Photo by Peter Strietmann, © 1994 Matthew Barney Courtesy Barbara Gladstone Gallery,Barbara Gladstone Gallery, New York The Artist’s words: "I think a lot of the references I make to American traditions—whether it's athletics or a kind of car culture—I think those are things that I've certainly grown up with and understand. It makes those things very available to me to use, and I consider them as kinds of vessels... they're used as carriers...the concept of a vehicle draws a line between locations... — Matthew Barney

50. Matthew Barney, “CREMASTER 5” 1997, Production still. Photo by Michael James O’Brien, © Matthew Barney. Courtesy Barbara GladstoneBarbara Gladstone Gallery, New York The Artist’s words: "The cremaster are a set of muscles that control the height of the internal reproductive system in the male. I took that one as a title for a couple reasons, primarily in that the story, over the course of five chapters, has to do with a kind of system whose state is fluctuating, not necessarily literally as a reproductive system, but as a system whose identity is changing." — Matthew Barney

51. Matthew Barney, “CREMASTER 5” 1997 Production still. Photo by Michael James O’Brien, © Matthew Barney Courtesy Barbara GladstoneBarbara Gladstone Gallery, New York Gallery, New York The Artist’s words: "The five chapters of the story are about an organism that is changing, and the system that changes that form alters from chapter to chapter...It's essentially about an imposed will onto the state of the [cremaster] form, sometimes in a very abstract way, sometimes in a more literal, biological way. But it's basically a structural word. It's being used as a way to tell the story, and not as a way to define a biological system at all." — Matthew Barney

52. Matthew Barney, “CREMASTER 3” 2000 Production still. Photo by Chris Winget, © 2000 Matthew Barney Courtesy Barbara GladstoneBarbara Gladstone Gallery, New York Gallery, New York The Artist’s words: "The story [of "CREMASTER 3"] has two principals, the Architect and the Mason's Apprentice...The Architect, who's played by Richard Serra, is shown sort of as himself in the game, throwing Vaseline on the top of "Level Five." And he's throwing hot Vaseline in exactly the same way that he threw hot lead in the late '60s." — Matthew Barney

53. Andrea Zittel, “A-Z Administrative Services,” exterior view, 1997 Williamsburg, Brooklyn, New York Courtesy the Artist Courtesy the Artist The Artist’s words: "A lot of times I’d have to contact fabricators…and when I called (especially when I was twenty and I would call with my voice and my accent) no one would help me with anything. So I started using the title ‘A To Z Administrative Services,’ almost as a joke. And I made letterhead and business cards and I’d call people up and I’d ask them for information. And they would automatically assume that I was a secretary calling for a legitimate company. Through the years it’s really opened a lot of doors and it’s really helped me to function." — Andrea Zittel

54. Andrea Zittel, “A-Z Administrative Services,” exterior view, 1997 Williamsburg, Brooklyn, New York. Courtesy the Artist The Artist’s words:Courtesy the Artist "All of my work is done under this identity of ‘A To Z Administrative Services.’ I’ve been doing that since I was a kid because my initials are 'a' and 'z'. And I just started noticing how many businesses and signs I would pass used ‘A to Z.’ It’s ironic that it got drawn into my art making process. It wasn’t a conceptual, it was out practical necessity." — Andrea Zittel

55. Andrea Zittel, “A-Z Living Unit II,” front view, 1994. Steel, wood, metal, mattress, glass, mirror, lighting fixture, oven, range, velvet upholstery, utensils, sauce pans, bowls, towel, hair brush, pillow, and clock; open: 57 x 84 x 82 inches, closed: 36 3/4 x 84 x 38 inches. Courtesy Andrea Rosen Gallery, New York. "When I first started doing furniture or whatAndrea Rosen Gallery, New York later became the 'Living Units,' I didn't really consider it part of my artwork. It was simply a solution for these circumstances that I had to live in.“ — Andrea Zittel

56. Andrea Zittel, “A-Z Living Unit II,” rear view,1994. Steel, wood, metal, mattress, glass, mirror, lighting fixture, oven, range, velvet upholstery, utensils, sauce pans, bowls, towel, hair brush, pillow, and clock; open: 57 x 84 x 82 inches, closed: 36 3/4 x 84 x 38 inches Courtesy Andrea Rosen Gallery, New York. "All of my ideas, they're sort of humorous, butAndrea Rosen Gallery, New York they're also a little dark at the same time. It's like I have this fantasy of being completely autonomous and independent and at peace, not having any of the day to day problems, but then there's also this sense of isolation that comes along with it.“ — Andrea Zittel

57. Andrea Zittel, “A-Z Travel Trailer Unit Customized by Andrea Zittel” 1995 Steel, wood, glass, carpet, aluminum, and various objects, 93 x 93 x 192 inches. San Francisco Museum of Modern Art, Accession Committee Fund. Courtesy the Artist.Courtesy the Artist "It’s important too that I’m a small identity or a small entity trying to function, managing to pull off these large-scale projects. Managing to do things that people usually think that you have to be an expert to do or an architect, like to make a trailer or to a 44-ton concrete island. I like this aspect that I’m sort of small, but I create the visual appearance of something large… and how it takes only a few to create this whole structure."— Andrea Zittel

58. Andrea Zittel, “A-Z Bathroom” 1997 The bathroom cabinets are divided into four categories: Addition, Subtraction, Correction, and Pathology. Photo by Orcutt & Van Der Putten. Courtesy the Artist The Artist’s words:Courtesy the Artist "There's a continual theme in my life and in my work. It's about taking something that seems like it's one way and flipping it over so it becomes the other. So I like to take things that are maybe limitations in my life and try to somehow recontextualize them, glamorize them, make them more interest- ing, and vice versa. So I took my simple living situation and used this certain aesthetic code of modern design, and made it, in my mind, very glamorous." — Andrea Zittel

59. Andrea Zittel, "Various A-Z Six Month Seasonal Uniforms“ 1992-1995 Various fabrics, leather straps, and suspenders; dimensions variable. Installed at Diechtorhallen, Hamburg, Germany Photo by Jens Rathman. Courtesy the Artist. "I’ve been doing this uniform project since 1991. It started because I had an office job and I was supposed to wear something respectable to work. But I didn’t have that much money and so I was thinking about how most of the time we can afford one fabulous outfit that you really love to wear. But there’s some sort of social stigma against wearing the same thing two days in a row. So I decided that, in my case, variety seemed more oppressive or restrictive than continuity. So for each season I’ll make one garment. That’s my fantasy garment or my favorite thing that I can imagine at that period in time, and then I'll wear it every day for for six months.“ — Andrea Zittel

60. Andrea Zittel, “A-Z Prototype for Pocket Property,” floating off the coast of Denmark 1999. Concrete, steel, wood, dirt, and vegetation, approximately 23 x 54 feet Courtesy the ArtistCourtesy the Artist. "It's like a suburbia floating out in the ocean, so you're completely alone, you're completely autonomous, but you have also this sense of community within that. Obviously no one knows how to make something like this, so we've just been trying to figure it out. I've been reading a lot of books on houseboat construction. With the first one that we made, I actually insisted that it should be made out of concrete, which was probably a mistake. But I had this idea that concrete was extremely literal. Concrete's like rock or earth. “ — Andrea Zittel

61. Please Note: the rest of the slides in Powerpoint Two are all from Book 3 of Art: 21. (They are also part of Exam Two.) Art 3101 Dr. David Ludley

62. Cai Guo-Qiang, "Drawing for Transient Rainbow," 2003 Gunpowder on paper, 198 x 157 inches Collection Museum of Modern Art, New York Photo by Hiro Ihara Courtesy Cai Guo-QiangCai Guo-Qiang "In the traditional Chinese home, what you will have is your table, your chairs, and it could actually be very empty. Nothing adorns the walls. But next to your host’s chair, there may be a very large ceramic jar that holds many things sticking out of it, and they’re actually scrolls rolled up...If he feels like you are worthy of a certain work, he might unroll it in front of you, and then you have a whole world all of a sudden opened up to you...“ --Cai Guo-Qiang

63. Cai Guo-Qiang, "Drawing for Transient Rainbow,“ 2003 Gunpowder on paper, 198 x 157 inches Collection Museum of Modern Art, New York Photo by Hiro Ihara Courtesy Cai Guo-QiangCai Guo-Qiang

64. Cai Guo-Qiang Transient Rainbow 2002 commissioned by the Museum of Modern Art Photo by Hiro Ihara

65. Cai Guo-Qiang, "Inopportune: Stage One," 2004 Cars, sequenced mulit-channel light tubes, dimensions variable Installation view: MASS MoCA, North Adams, Massachusetts Collection of the Artist Photo by Kevin Kennefick Courtesy Cai Guo-QiangCai Guo-Qiang "Ever since September 11th, the idea of terrorism is always on our minds. It’s ever so present. And while car explosions have been around for a long time, they have a heightened sense of reality in our minds. ‘Inopportune’ obviously has a direct reference to these conditions that we live in now. But making an installation that is so beautiful and mesmerizing that also borrows the image of the car bomb already has inappropriateness in it...So maybe in this way it’s kind of unfashionable or inappropriate, or ‘inopportune.’“ --Cai Guo-Qiang

66. Cai Guo-Qiang, "Inopportune: Stage One," 2004 Cars, sequenced mulit-channel light tubes, dimensions variable Installation view: MASS MoCA, North Adams, Massachusetts Collection of the Artist Photo by Kevin Kennefick Courtesy Cai Guo-QiangCai Guo-Qiang

67. Cai Guo-Qiang, "Inopportune: Stage Two," detail 2004 Tigers: paper mache, plaster, fiberglass, resin, painted hide; arrows: brass, bamboo, feathers; stage prop: styrofoam, wood, canvas, acrylic paint; dmensions variable Installation view: MASS MoCA, North Adams, MA Collection of the Artist Courtesy Cai Guo-QiangCai Guo-Qiang "There’s a lot of talk about the content of my work, about the subject matter or the historical background. But there’s not a real in-depth investigation into the visual impact. It’s through visual impact that you transmit these ideas. And it’s through visual impact that this pain is felt, and you can actually elicit a very direct response from the audience, a very strong response. But it’s the treatment of all the elements that has the power to do this.“ --Cai Guo-Qiang

68. Cai Guo-Qiang, "Inopportune: Stage Two," detail 2004 Tigers: paper mache, plaster, fiberglass, resin, painted hide; arrows: brass, bamboo, feathers; stage prop: styrofoam, wood, canvas, acrylic paint; dmensions variable Installation view: MASS MoCA, North Adams, MA

69. Cai Guo-Qiang, "Borrowing Your Enemy’s Arrows," 1998 Wooden boat, 3000 arrows, electric fan, Chinese flag; boat: approximately 60 x 283 x 90 inches; arrows: 24 inches, each Collection Museum of Modern Art, New York Photo by Hiro Ihara Courtesy Cai Guo-QiangCai Guo-Qiang "’Borrowing Your Enemy’s Arrows’ uses three thousand arrows on a boat that’s hanging. I’ve used the image of the arrow quite a lot. And I also like to hang things up. Perhaps it’s the physical response one has with an object that’s been pierced through- and then also to the change of gravity when you lift things off the ground." - Cai Guo-Qiang

70. Cai Guo-Qiang, "Black Rainbow," proposal 2005 Explosion project for Valencia, Spain Date: May 1, 2005 Time: 12 noon Site: River Park, between Flowers Bridge and Calatrava Bridge Courtesy Cai Guo-QiangCai Guo-Qiang "’Black Rainbow’ is a work I’m preparing to do for Valencia, Spain. I was invited to see the site in March 2003, and three days prior to my departure the Madrid bombing happened. Valencia is very famous for its really crazy explosive fireworks shows that they put on every year. But being there in that atmosphere, with the bombing that had just happened, I was really thinking about what possibilities there still are for fireworks. And what came to mind was making a black fireworks show.“ –Cai Guo-Qiang

71. Cai Guo-Qiang, "Reflection," 2004 Excavated boat, porcelains, 18 x 50 x 16 feet. Installation view: Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C. Collection of the Artist Photo by Cai Guo-Qiang Courtesy Cai Guo-QiangCai Guo-Qiang "Kuan Yin is a god or goddess that I hold very close, a god that I worship. And when you say that, you’re relying on some kind of eternal power this figure has. However when I look at the Kuan Yin statues in the museum, I see that they are artworks. I do not see them as gods and goddesses. They are artistic representations that are different from the types of idols that we use to draw a link between us and the eternal power of the deity." - Cai Guo-Qiang

72. Laylah Ali, "B Painting (Greenheads)," 1996 Gouache on paper, 11 x 7 1/2 inches Courtesy the Artist "As they developed, they got more things... Belts, boots, sneakers, masks, hats, scalps. Belts, because of the multiple ways they can be used. Belts being practical, to hold up their pants. Belts as instruments of domestic violence. Belts to hang some of my characters. Superheroes most often have belts. If we’re going to use that word, ‘power,’ belts connote some kind of power. Imagine policemen without belts. You couldn’t take them seriously." - Laylah Ali

73. Laylah Ali, "Untitled," 2000 Gouache on paper, 8 x 14 inches Courtesy 303 Gallery, New York303 Gallery, New York "I think when people say the word ‘violence’, oftentimes we think of the violent ‘act.’ In my earlier work it was more about the moment that somebody was getting strangled or hanged, whereas now there’s very little concentration on the moment when violence occurs. I’m more interested in what happens before and after. And the figure is the perpetrator of the violence, the victim, the negotiator. We understand or read violent acts through the characters and the figures.”- Laylah Ali

74. Laylah Ali, "Untitled," 2000 Gouache on paper, 13 x 19 inches Courtesy 303 Gallery, New York303 Gallery, New York "It’s not like one [violent] thing happens and you say, ‘Wow! That was just so terrible,’ and it will never happen again. You know it will happen again- either where you’re caught up in a system, whether a family or war...or- if you’re in a situation as I happen to be now, not involved in a violent cycle, witnessing violent situations erupt. I’m more in a witness position now. Not a direct witness. A kind of removed witness."

75. Laylah Ali, "Untitled," 2000 Gouache on paper, 13 x 21 inches Courtesy 303 Gallery, New York303 Gallery, New York "Sometimes I feel like I’m making an extended alphabet, or that images encapsulate parts of an idea. By using parts of that alphabet or hieroglyphic system, I can recombine them and come up with new meanings. Because they’re so crisp and have definite shape, sometimes I think it feels like they’re letters.“--Laylah Ali

76. Laylah Ali, "No title," 2002 Artist's book, digital production by Nicole Parente Produced for the Museum of Modern Art, New York Courtesy the Artist "I’ve always been interested in figurative work and narrative. My earlier work was more involved with language- more explicitly about storytelling. And these are very narrative, but I leave a lot to the viewer to fill in. I trust the viewer more than I did when I was younger, where I felt like I had to be in control and dictate meaning."- Laylah Ali

77. Laylah Ali, "Untitled," 2000 Gouache on paper, 12 x 14 inches Courtesy 303 Gallery, New York303 Gallery, New York "Pre-violence and post-violence. There’s always another violent act around the corner. So, pre-violence- when was that moment? Post-violence- the anticipation of the next act. The repetition is what I think is so striking."- Laylah Ali

78. Laylah Ali, "Untitled", 2004 Gouache on paper, 15 3/16 x 9 1/2 inches Courtesy 303 Gallery, New York303 Gallery, New York "I have no idea whether they’re male or female. I’ve almost eliminated that as a category, although they still get gendered because of what they wear. It’s interesting, because race still exists in the work. Recently it’s come to the forefront a little bit more. These new characters have a wider range of facial coloring. I hesitate to call it race- because sometimes I think of them as having a skin condition rather than a race. Like when your skin gets burned, it turns a different color or has a different texture- somewhere between race and skin condition."

79. Laylah Ali, "Untitled," 2004 Gouache on paper, 28 3/8 x 20 5/16 inches Courtesy 303 Gallery, New York303 Gallery, New York "I’m also thinking of the portraits as distinct individuals who exist or have existed. The idea is for the distinctness of that individual to come through, to speak in some way about a narrative that is not readily apparent. Something about the way the person is dressed...the look on their face, the weathering of their face, tells you a story. The look in their eyes speaks of something larger." - Laylah Ali

80. "Dis-Armor," 1999-2000 One laptop computer, three LCD screens, speaker with amplifier, microphone, augmented speech recognition software, three video cameras, electric engine, batteries and internal and external aluminum components. © Krzysztof Wodiczko Courtesy Galerie Lelong, New YorkGalerie Lelong, New York "Sometimes I’m thinking of myself as what Derek Winnicott, the psychoanalyst, called a 'good enough mother,' someone who protects the process in which others can develop and create something in an atmosphere of trust, develop the ability to cope with life though often damaged and wounded by their experiences. Perhaps projects of the kind I’m working on help those who are ready to take advantage of them to make that leap."- Krzysztof Wodiczko

81. "Hirshhorn Museum, Washington, D.C.," 1988 Public projection at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. © Krzysztof Wodiczko Courtesy Galerie Lelong, New YorkGalerie Lelong, New York "What are our cities? Are they environments that are trying to say something to us? Are they environments in which we communicate with each other? Or are they perhaps the environments of things that we don’t see, of silences, of the voices which we don’t, or would rather not, hear. The places of all of those back alleys where perhaps the real public space is, where the experiences of which we should be speaking, where voices that we should be listening to, are hidden in the shadows of monuments and memorials."- Krzysztof Wodiczko

82. "The Hiroshima Projection," 1999 Public projection at the A-Bomb Dome, Hiroshima, Japan © Krzysztof Wodiczko Courtesy Galerie Lelong, New YorkGalerie Lelong, New York "The river is as much a witness as the A-Bomb Dome building reflected in the water...The river was where people jumped to their death because they thought that it would help them to cool their burns, but in fact it only contributed to a quicker death. Those are the events or scenes recalled by some of the memorial projection participants and artists who were speaking through the building, as if they were the building, looking at the river and seeing all of this again- the bodies floating, the people jumping in. At the same time, the river continues its flow as if nothing has happened. There is fresh water coming. The river is like a tragic witness- but also a hope- because it’s moving..." - Krzysztof Wodiczko

83. "Bunker Hill Monument, Boston," 1998 Public projection at Bunker Hill Monument, Boston, Massachusetts © Krzysztof Wodiczko Courtesy Galerie Lelong, New YorkGalerie Lelong, New York "To some degree, we could say that most cities are populated by traumatized survivors and historic monuments that are witnessing conflicts and problems...I realized that there is one place in Boston where those two are extremely close to each other- that the Revolutionary War monument on Bunker Hill somehow connected with the daily struggle and battleground of Charlestown residents living in the shadow of that monument- where, on a weekly or monthly basis, someone was murdered, killed, or executed..."- Krzysztof Wodiczko

84. Krzysztof Wodiczko,"The Tijuana Projection," 2001 Public projection at the Centro Cultural de Tijuana, Mexico (as part of In-Site 2000) © Krzysztof Wodiczko Courtesy Galerie Lelong, New YorkGalerie Lelong, New York "Tijuana. It’s a border not only between Mexico and the United States, but also between Tijuana and the rest of Mexico...for many people who come from poor provinces such as Chiapas to try to advance their life by moving north. They cross the border before they reach Tijuana. That’s the border between the feudal village and work in the maquiladora factory as members of a new kind of industrial proletariat. They say they move from an old hell to a new hell. For many of them, that’s an advantage. Perhaps there is nothing worse than to stay in the same hell all their life long."- Krzysztof Wodiczko

85. "Mother mother I am ill," 1993 Oil on canvas, 2 panels, 110 x 72 inches overall Collection of the Corcoran Museum of Art, Washington, D.C. Photo by Jennifer Kotter Courtesy Hauser & WirthHauser & Wirth "I do a lot of work on violence all the time, you know. I’ve also had that come at me, 'Why are you so obsessed with violence?' And you know my answer? I look at them and I think. 'Why do you say I’m obsessed with violence?' I live in this world- this is what’s going on around me. I can’t change that." - Ida Applebroog

86. Top: You’re rat food, 1986. Bottom: I’m back on the pill. 1986. Both: Oil on canvas: 14 x 66 inches Photo by Jennifer Kotter Courtesy Hauser & WirthHauser & Wirth "It’s just really bizarre- because I know what I’ve done and I know they’re exact, though of course my hand is not exact, but they see actual gestures and they see actual changes in the expression which I never put there. And that’s not the reason why I use repetition. It’s just because it’s a performance, and it’s my way of animating one image, from one image to the next without the image actually changing." - Ida Applebroog

87. "Modern Olympia (after Manet)," 1997-2001 Oil on Gampi on canvas, 4 panels, 73 3/8 x 148 1/16 inches overall. Photo by Dennis Cowley Courtesy Hauser & WirthHauser & Wirth "It’s almost like I’m creating flypaper to get you over to look at the kinds of brushstrokes or the impasto layer- and it’s always interesting-looking enough to draw the viewer into it. Then once they’re there, they are confronted with material that they have to think about or just walk away from very fast."- Ida Applebroog

88. Olympia by Edouard Manet, 1863 (the influence on the previous slide by Applebroog)

89. "Everything is Fine," 1990-1993 Installation view, Brooklyn Museum of Art, Brooklyn, New York Photo by Patricia L. Bazelon. Courtesy Hauser & WirthHauser & Wirth "I define beauty first of all in the way I paint. And even though the work is not comfortable work, I feel like the paint is absolutely beautiful. It’s something that I love working in. I love the colors, the coloration." - Ida Applebroog

90. "Marginalia (Isaac Stern)," 1992 Oil on canvas, 2 panels, 35 x 39 inches overall Photo by Dennis Cowley Courtesy Hauser & WirthHauser & Wirth "Yes- my work is not about beauty, and I know it does not hang over a couch very well, matching the burgundy colors on the pillows. It’s not work one hangs over a couch in that way. But I make the work, and I make it because for me it’s necessary."- Ida Applebroog

91. Digital Outtake of Work in Progress, 2005 Production by Rita MacDonald and Robert MacDonald Courtesy Hauser & WirthHauser & Wirth "At one point, the term ‘cloning’ occurred to me and I thought, 'Oh my God, am I creating all these deformed pieces!' I can’t explain what they do to me except that they feel like they’re not deformities- they’re just very beautiful."- Ida Applebroog