POWERPOINT PRESENTATION ONE Art 3101 Dr. David Ludley

Laurie Anderson “Walking Solo for Tape Bow Violin” 1979 From “Americans on the Move,” part 1 of “United States 79-80,” New York version Courtesy the Artist

Laurie Anderson, Performance of “United States Part II" 1980, The Orpheum, New York Courtesy the Artist

Richard Serra, "One Ton Prop (House of Cards),"1969, Lead antimony, four plates, each 48 x 48 x 1 inch The Museum of Modern Art, New York Gift of the Grinstein Family, Photo by Peter Moore. Courtesy the Artist

Richard Serra, "Torqued Ellipse VI,"1999, Installation at the Guggenheim Museum, Bilboa, Spain. Weatherproof steel, 13 feet 8 1/2 inches x 33 feet 5 1/2 inches x 19 feet 8 1/4 inches. Metropolitan Museum of Art, New York, Gift of Jerry Leiber, 1985. Photo by Dirk Reinartz, Buxterhude. Courtesy Gagosian Gallery, New York

Richard Serra, "Torqued Ellipse VI,"1999, Installation at the Guggenheim Museum, Bilboa, Spain. Weatherproof steel, 13 feet 8 1/2 inches x 33 feet 5 1/2 inches x 19 feet 8 1/4 inches. Metropolitan Museum of Art, New York, Gift of Jerry Leiber, 1985. Photo by Dirk Reinartz, Buxterhude. Gagosian Gallery, New York

Richard Serra, "Torqued Ellipse VI,“ 1999, Installation at the Guggenheim Museum, Bilboa, Spain. Weatherproof steel, 13 feet 8 1/2 inches x 33 feet 5 1/2 inches x 19 feet 8 1/4 inches. Metropolitan Museum of Art, New York, Gift of Jerry Leiber, 1985. Photo by Dirk Reinartz, BuxterhudeCourtesy Gagosian Gallery, New York

"Snake" 1996 Weatherproof steel, six curved elements, each: 13 feet 52 feet x 2 inches (13 x 104 feet overall) Installed at Dillinger Huettenwerke, Dillingen, Germany Photo by Dirk Reinartz, Buxterhude Courtesy Gagosian Galelry, New York

Sally Mann, "Emmett, Jessie, and Virginia,“ 1989, Gelatin silver print, 20 x 24 inches© Sally Mann Courtesy the artist and Edwyn Houk Gallery, New York

Sally Mann, "The Last Time Emmett Modeled Nude,“ 1987, Gelatin silver print, 20 x 24 inches © Sally Mann Courtesy the artist and Edwyn Houk Gallery, New York

Sally Mann, "Fallen Child,“ 1989, Gelatin silver print, 20 x 24 inches © Sally Mann Courtesy the artist and Edwyn Houk Gallery, New York

Sally Mann,"Untitled (#18)“ 1996 Sally Mann,"Untitled (#18)“ 1996. From the "Mother Land" series Tea-toned gelatin silver print, 38 x 48 inches © Sally Mann Courtesy the artist and Edwyn Houk Gallery, New York

Sally Mann, "Untitled (#15)"1996, From the "Mother Land" series Tea-toned gelatin silver print, 38 x 48 inches © Sally Mann Courtesy the artist and Edwyn Houk Gallery, New York

Sally Mann, "Untitled (#1)“ 1998, From the "Deep South" series Tea-toned gelatin silver print, 38 x 48 inches © Sally Mann. Courtesy the artist and Edwyn Houk Gallery, New York

Sally Mann, "Untitled (#34),“ 1998, From the "Deep South" series Tea-toned gelatin silver print, 38 x 48 inches © Sally Mann Courtesy the artist and Edwyn Houk Gallery, New York

Sally Mann, "Untitled (#30)“ 1998, From the "Deep South" series Tea-toned gelatin silver print, 38 x 48 inches, © Sally Mann. Courtesy the artist and Edwyn Houk Gallery, New York

Barry McGee“The Buddy System,” detail, 1999, Mixed media installation, dimensions variableCourtesy Deitch Projects, New York

Barry McGee, Installation view at UCLA/Armand Hammer Museum, Los Angeles, 2000 Mixed media, dimensions variable Photo by Robert Wedemeyer Courtesy Deitch Projects, New York  

Barry McGee, Installation view at UCLA/Armand Hammer Museum, Los Angeles, 2000 Mixed media, dimensions variable Photo by Robert Wedemeyer Courtesy Deitch Projects, New York

Barry McGee, Installation view at UCLA/Armand Hammer Museum, Los Angeles, 2000 Mixed media, dimensions variable Photo by Robert Wedemeyer Courtesy Deitch Projects, New York

Barry McGee, Installation view at UCLA/Armand Hammer Museum, Los Angeles, 2000 Mixed media, dimensions variable Photo by Robert Wedemeyer Courtesy Deitch Projects, New York

Margaret Kilgallen, Work on paper from installation at UCLA /Armand Hammer Museum, Los Angeles 2000 Photo by Robert Wedemeyer Courtesy Deitch Projects, New York

Margaret Kilgallen, Hand-painted trainyard photo, detail, 2000, Photograph by North Bank Fred with hand-painted detail by Margaret Kilgallen. With thanks from the artists to Bill Daniels. Courtesy the Artists

Margaret Kilgallen, Work on paper from installation at UCLA/Armand Hammer Museum, Los Angeles 2000 Photo by Robert Wedemeyer Courtesy Deitch Projects, New York

Margaret Kilgallen, Installation view at UCLA / Armand Hammer Museum, Los Angeles, 2000 Photo by Robert Wedemeyer Courtesy Deitch Projects, New York

Margaret Kilgallen, Installation view at UCLA / Armand Hammer Museum, Los Angeles, 2000 Photo by Robert Wedemeyer Courtesy Deitch Projects, New York

Margarett Kilgallen, "To Friend and Foe,“ 1999 Installation at Deitch Projects, New York Mixed media, dimensions variable Photo by Tom Powel Courtesy Deitch Projects, New York

Pepon Osorio, "La Bicicleta (The Bicycle)" 1985 Mixed media, 42 x 60 x 24 inches Photo by Tony Velez Courtesy Bernice Steinbaum Gallery, Miami, Florida, © Pepón Osorio

Pepon Osorio,"En la barbaria no se llora (No Crying Allowed in the Babershop)”1994, Installation at Real Art Ways, Hartford, Connecticut. Mixed media installation with barbers' chairs, photographs, objects and videos, dimensions variable. Photo by Pepón Osorio. Collection of the Museum de Arte de Puerto Rico Courtesy Ronald Feldman Fine Arts, New York

Pepon Osorio, "Badge of Honor," two views of son's bedroom,1995 Mixed media installation, with recreated cell environment, furniture, video and objects, dimensions variable Photo by Sarah Welles Courtesy Ronald Feldman Fine Arts, New York

Pepon Osorio, "Home Visit" 1999-2000 Details of “Tina's House Pepon Osorio, "Home Visit" 1999-2000 Details of “Tina's House.” Mixed media, 20 x 28 x 17 inches. Photo by Gloria O'Connel Courtesy Bernice Steinbaum Gallery, Miami, Florida, © Pepón Osorio

Pepon Osorio, "Home Visit" 1999-2000 Details of “Tina's House” Mixed media, 20 x 28 x 17 inches Photo by Gloria O'Connel Courtesy Bernice Steinbaum Gallery, Miami, Florida, © Pepón Osorio "Home Visit" 1999-2000 Details of “Tina's House” Mixed media, 20 x 28 x 17 inches Photo by Gloria O'Connel Courtesy Bernice Steinbaum Gallery, Miami, Florida, © Pepón Osorio

Pepon Osorio, "Home Visit” 1999-2000 “Tina's House” with Pepón Osorio, Sasha Rosado and Tine Rosado Photo by Adam Wallacabage Courtesy the Artist

Beryl Korot, "Dachau 1974" 1974 Installation view of four-channel video, dimensions variable Photo by Mary Lucier Courtesy of the Artist

Beryl Korot, "Dachau 1974" 1974 Videotape notation Courtesy the Artist

Beryl Korot, "Text and Commentary" 1976 Videotape notation for minutes 13 to 18 Courtesy the Artist

Beryl Korot, "Text and Commentary" 1976 Installation view of five channel video with textile, dimensions variable Photos by Mary Lucier Courtesy the Artist

Beryl Korot, “Anordnung“ 1986 Oil on canvas, 90 x 56 inches Private collection Photo by Fred Scruton Courtesy the Artist

Beryl Korot, "The Cave" 1993 Collaborative opera by Beryl Korot and Steve Reich Performance with interviewees and musicians Photo by Didi Sattmann. Courtesy the Artist.

Beryl Korot, "Three Tales—Act 1—Hindenburg," production still 1998 Collaborative opera by Beryl Korot and Steve Reich Color and black-and-white video Courtesy the Artist

Beryl Korot, "Three Tales—Act 1—Hindenburg," production still 1998 Collaborative opera by Beryl Korot and Steve Reich Color and black-and-white video Courtesy the Artist

Beryl Korot, "Three Tales—Act 2—Bikini," production still 2000 Collaborative opera by Beryl Korot and Steve Reich Color and black-and-white video Courtesy the Artist

Beryl Korot, "Three Tales—Act 2—Bikini," production still 2000 Collaborative opera by Beryl Korot and Steve Reich Color and black-and-white video Courtesy the Artist

Ann Hamilton, “kaph," detail, 1997. “kaph”=sanskrit for “palm of hand Installation at the Contemporary Arts Museum, Houston, Texas. Curved tearing walls, mounded dirt covered with cloth on tables, mechanized trapeze, seated figure, silk gloves, embroidered with numbers, dimensions variable. Photo by Paul Hester. Courtesy the Contemporary Arts Museum, Houston, TX

Ann Hamilton, “kaph," detail, 1997. Removing the threads/numbers Ann Hamilton, “kaph," detail, 1997. Removing the threads/numbers. Installation at the Contemporary Arts Museum, Houston, Texas. Curved tearing walls, mounded dirt covered with cloth on tables, mechanized trapeze, seated figure, silk gloves, embroidered with numbers, dimensions variable Photo by Paul Hester. Courtesy the Contemporary Arts Museum, Houston, TX

Ann Hamilton, “(bearings),“ 1996 Two black silk organza curtains, mechanical devices, dimensions variable Musée d'Art Contemporain de Montreal, Montreal, Canada Photo by Jenni Carter Courtesy Sean Kelly Gallery, New York

Ann Hamilton, “ghost…a border act,“ 2000 Installation at the former Ix Factory, Charlottesville, Virginia. Silk organza, tables, video projection, and sound, dimensions variable. Photo by Tom Cogill Courtesy the Bayly Art Museum, Charlottesville, Virginia

Ann Hamilton, “ghost…a border act,“ 2000 Installation at the former Ix Factory, Charlottesville, Virginia. Silk organza, tables, video projection, and sound, dimensions variable. Photo by Tom Cogill Courtesy the Bayly Art Museum, Charlottesville, Virginia

Ann Hamilton, "Untitled" 2000 Pin-hole mouth photograph from the series "face to face" Courtesy the Artist

John Feodorov, "Totem Teddy" 1989-1998 Mixed media, 11 x 8 x 8 inches Photo by the Artist Courtesy the Artist

John Feodorov, “Animal Spirit Channeling Device for the Contemporary Shaman“ 1997, Mixed media, 15 x 12 x 3 inches Photo by the Artist. Courtesy the Artist

John Feodorov, Angel from the installation “Angels with Crosses and Bullets" 1990-1997 Mixed media (found objects), dimensions variable Photo by the Artist. Courtesy the Artist

John Feodorov, Angel from the installation “Angels with Crosses and Bullets,“ 1990-1997 Mixed media (found objects), dimensions variable Photo by the Artist Courtesy the Artist

John Feodorov, “Forest at Night" 1996-1997 Mixed media with video and sound, dimensions variable Installation view: Sacred Circle Gallery of American Indian Art, Seattle, Washington. Courtesy Sacred Circle Gallery "Living in the North- west, clear-cutting is a hot button issue. These trees are sort of an altar piece for each one of those stumps that we saw in the forest." — John Feodorov

John Feodorov, “Forest at Night," detail, 1996-1997, Mixed media with video and sound, dimensions variable. Installation view: Sacred Circle Gallery of American Indian Art, Seattle, Washington. Courtesy Sacred Circle Gallery "The branches are made of doll arms and are holding little plastic miniature toy animals, again sort of reflecting the Disney mentality of nature that I think has evolved just this century."— John Feodorov

John Feodorov, "Office Myth" 1995. Oil on canvas with fluorescent light, 73 x 66 1/2 inches. Photo by Richard Nicol. Courtesy the City of Seattle, Washington. "Evan DeWaria, who was a Native American author...he said something about the corporation actually being sort of the new manifestation of the tribe. I'm not quite sure I believe that, but I thought it was a really interesting statement." — John Feodorov

John Feodorov, "The Office Shaman," detail, 2000-2001 Mixed media installation, dimensions Variable. Photo by the Artist Courtesy the Artist "Whenever I see something that's meant to be funny from an artist, I usually end up not thinking it is. So I don't try to be funny. I think what I try to do is get the point across, and many times, that may have humor in it. Maybe I'm just naturally funny, sort of a Don Rickles of visual art." — John Feodorov

John Veodorov, "The Office Shaman," detail, 2000-2001 Mixed media installation, dimensions Variable. Photo by the Artist Courtesy the Artist "Pueblo Indian dances—they have clowns. And the clowns are making fun of the whole ritual, you know. But that's part of the ritual. And I guess I kind of see myself in that vein, as sort of the clown in a way. I'm not debunking spirituality, I'm not making fun of it, I'm....well, yeah, I am. (LAUGHS) But the thing is that it's only because I think it's necessary. I mean, I think it's a part of spirituality." — John Feodorov

Shahzia Sikander, "The Scroll," detail, 1991-1992. Vegetable color, dry pigment, watercolor, tea on hand-prepared Wasli paper, 13 1/8 x 63 7/8 Inches. Courtesy the artist and Sikkema Jenkins & Co., New York "I was looking at the Sufi period of Persian painting and in that school of painting I was interested in the interior spaces versus the human body…”

Shahzia Sikander, "The Scroll,“ 1991-1992 Vegetable color, dry pigment, watercolor, tea on hand-prepared Wasli paper, 13 1/8 x 63 7/8 inches. Courtesy the artist and Sikkema Jenkins & Co., New York "The scroll took a year to make...I was looking at many ways of departing from the conventional miniature in the context of what was happening the past couple of years in the miniature painting department at school. I was looking at Chinese scrolls and I was looking at other forms of eastern art which come out of this whole aesthetic, because they still deal with landscape and they still deal with issues of space." — Shahzia Sikander

Shahzia Sikander, "Perilous Order,“ 1994-1997 Vegetable color, dry pigment, watercolor, tea on hand-prepared Wasli paper, 10 1/2 x 8 inches Photo by Tom Powel. Courtesy Sikkema Jenkins & Co., New York "The early works were primarily drawn out of memory and were very different from miniatures— much looser, abstract, gestural. And then there was a desire to provide order, a structure to that. And that’s when I started experimenting with breaking the surfaces of these very precisely painted images. Everything would have its place, every little thing, and then I would go and break the borders. Images fall from within and to the borders, and there's Lots of drawing done on top." — Shahzia Sikander

Shahzia Sikander, "Fleshy Weapons" 1997 Shahzia Sikander, "Fleshy Weapons" 1997. Acrylic, dry pigment watercolor, tea wash on linen, 96 x 70 inches Photo by Tom Powel. Courtesy Sikkema Jenkins & Co., New York "I was looking at the idea of the goddess. And it didn’t matter how many hands it had, just the notion that it was the female body with several hands was important. A Hindu goddess has a very specific face, and here I was stripping off the face and taking away the identity that defines the goddess and putting the veil on top of it. So it was like playing with both aspects—not to underestimate what’s behind the veil, and at the same time taking away the physical violence of the facial expression and the particular sort of identities that come through the image of the goddess." — Shahzia Sikander

Shahzia Sikander, "Hood's Red Rider #2“ 1997 Vegetable color, dry pigment, watercolor, tea on hand-prepared Wasli paper, 10 1/8 x 7 1/8 inches. Photo by Tom Powel Courtesy Sikkema Jenkins & Co., New York "The structure was built around narrative. The narrative utilized language which might resemble miniature, but when you came and looked at it closely it had nothing to do with old paintings. There is nothing being copied or borrowed. It was all coming from my own sort of diary of developing forms and giving meaning to them, and meaning actually emerges by usage...For instance, with 'Hood’s Red Rider,' I did a series with children’s tales such as 'Little Red Riding Hood'..." — Shahzia Sikander

Shahzia Sikander, "Chaman,“ 2000 Shahzia Sikander, "Chaman,“ 2000. Mixed Media, dimensions variable Installation at the Whitney Museum of American Art, New York. Courtesy the artist and the Whitney Museum of American Art, New York "It’s very different when I’m working on a larger scale, which is much more gestural, which I’m aware of every little thing I’m doing and it’s very physical."

Shahzia Sikander, “Riding the Written" 2000 Shahzia Sikander, “Riding the Written" 2000. Vegetable color, dry pigment, watercolor, tea, on hand prepared Wasli paper, 8 x 5 1/2 inches. Photo by Tom Powel. Courtesy Sikkema Jenkins & Co., New York "Some of the things become clearer, especially in borders...I was looking at text which accompanies miniatures. The text exists because miniatures come out of manuscripts and book illustration. But here the text becomes more like horses or there’s the suggestion of movement, and that aspect is my experience of reading the Koran where I would read it with no particular understanding because I was a child. I could read Arabic, but I couldn’t understand it and the memory of it is this amazing visual memory where the beauty of the written word supersedes everything else."— Shahzia Sikander

James Turrell, Skyspace at Live Oak Friends Meeting House, Houston, Texas, 2000. Retracted skyspace shows light changing as sun sets Photo by Joe Aker. Courtesy the artist and Live Oak Friends. "I mean it's a very traditional form, except it's convertible. The top opens, and it makes a sky space where sky is really brought down to you; your awareness of it is made quite different. It was a little bit of a novel idea, that it's a roof that opens." — James Turrell

James Turrell, Skyspace at Live Oak Friends Meeting House, Houston, Texas, 2000. Retracted skyspace shows light changing as sun sets Photo by Joe Aker. Courtesy the artist and Live Oak Friends "That was kind of the Meeting House I always wanted to see. I guess I like the literal quality, or feeling, or sensation, in that I want to feel light physically. We also have a big psychological relation to light. All or most spiritual experiences, near death experiences, are described with a vocabulary of light. This quality to feel light exists, almost like we see it in a dream." — James Turrell

James Turrell,“Hi Test," 1997 Mixed media, site-specific permanent installation at the Mondrian Hotel, West Hollywood, California Photo by Paula Goldman Courtesy the Mondrian Hotel "Color is this response to what we are perceiving. So there isn't something out there that we perceive; we are actually creating this vision, and we are responsible for it is something we're rather unaware of. So I actually like to do that, and I look at my art as being somewhere between the limits of perception of the creature that we are, that is—what we can actually perceive and not perceive, like the limits of hearing or seeing—and that of learned perception, or we could call prejudice perception. That's a situation where we have learned to perceive a certain way, but we're unaware of the fact that we learned it." — James Turrell  

James Turrell, "The Light Inside“ 1999 Electric lights, wires, metal and paint, site- specific permanent installation at The Museum of Fine Arts, Houston, Texas Courtesy Museum of Fine Arts, Houston "[The Quaker] George Fox talked about the light, both in a literal and a figurative sense, or allegorical sense. And a lot of it is the revelation, which is a light, as in a bright idea can light, but it always says this image of light, and so I was very interested in this literal look at it, actually greeting this light that you find in meditation, and following that. But, that's not its entire meaning, and I think that that's why I just express it that way. But it's certainly something that I've related to and like.” --James Turrell.

James Turrell, "The Light Inside“ 1999. Electric lights, wires, metal and paint, site- specific permanent installation at The Museum of Fine Arts, Houston, Texas Courtesy Museum of Fine Arts, Houston "It's something for a child to be introduced to the Meeting...this time when you are no longer in first day of school, but you actually come and join the Meeting. And my grandmother was trying to tell me what you did. So her explanation to me was you went inside to greet the light. And this idea, to go inside to find that light within, literally, as well as figuratively, was something that really propelled me at the time. I really thought that that's what I should Do...” --James Turrell

James Turrell, "Roden Crater," Southwest View, 2000 Roden Crater Project, Flagstaff, Arizona. Photo by Dick Wiser Courtesy The Skystone Foundation and Barbara Gladstone Gallery, New York "This is really beautiful when the sun hits it in the afternoon because you really get the red and the black, that separation of the two craters from the west side. And it really stood out. The nice thing about it was that it was off by itself, so it didn't have other volcanoes that would be in the horizon when you were inside it....— James Turrell

James Turrell, "Roden Crater," East Portal Entryway, 2000. Roden Crater Project, Flagstaff, Arizona. Photo by Dick Wiser. Courtesy The Skystone Foundation and Barbara Gladstone Gallery, New York "I wanted to use the very fine qualities of light. First of all, moonlight. There's a space where you can see your shadow from the light of Venus alone—things like this. I also wanted to gather starlight that was from outside the planetary system, which would be from the sun or reflected off of the moon or a planet... you've got this older light that's away from the light even of our galaxy. So that is light that would be at least three and a half billion years old. So you're gathering light that's older than our solar system." — James Turrell