Modern contemporary : art at MoMA

since 1980
Edited by Kirk Varnedoe, Paola Antonelli, Joshua
Siegel

Date
2000

Publisher
The Museum of Modern Art: Distributed
by H.N. Abrams

ISBN
0870700219, 0810962144

Exhibition URL
www.moma.org/calendar/exhibitions/174

The Museum of Modern Art's exhibition history—

from our founding in 1929 to the present—is
available online. It includes exhibition catalogues,
primary documents, installation views, and an
index of participating artists.

MoMA © 2016 The Museum of Modern Art

8
MUSEUMOF
MODERNART
LIBRARY
m
MODERNCONTEMPORARY
MODERN
CONTEM
P 0 RA RY
ART ATMoMASINCEl 980

EDITED BY

KIRK VARNEDOE • PAOLA ANTONELLI •JOSHUA SIEGEL

THE MUSEUM OF MODERN ART, NEW YORK

DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK
Thisbookis publishedin conjunctionwith the exhibition OpenEndsat TheMuseumof ModernArt, NewYork,September28,
2000-January 30, 2001, organized by Kirk Varnedoe,Chief Curator, Department of Painting and Sculpture; Paola
Antonelli, Curator, Departmentof Architecture and Design;and Joshua Siegel, AssociateCurator, Departmentof Film
and Video.OpenEndsis the third and final cyclein the seriesof exhibitionstitled MoMA2000.• MoMA2000is madepossi
ble by the Starr Foundation.• Generoussupport is provided by AgnesGundand Daniel Shapiroin memoryof Louise
Reinhardt Smith. • The Museumgratefully acknowledgesthe assistanceof the ContemporaryExhibition Fund of The
Museumof Modern Art established with gifts from Lily Auchincloss,Agnes Gund and Daniel Shapiro, and Jo Carole
and Ronald S. Lauder.* Additional funding is provided by the National Endowmentfor the Arts, Anna Marie and
Robert F. Shapiro, NECTechnologies,Inc., and by The ContemporaryArts Council and The Junior Associatesof The
Museumof ModernArt. • EducationprogramsaccompanyingMoMA2000are made possibleby BNPParibas.• The pub
lication ModemContemporary: Art at MoMASince1980 is madepossibleby TheInternational Councilof The Museumof
ModernArt. • Theinteractive environmentof OpenEndsis supportedby the RockefellerBrothersFund.• Film programs
during OpenEndsare supported by The NewYork TimesCompanyFoundation.• Web/kioskcontent managementsoft
ware is provided by SohoNet.• Produced by the Department of Publications, The Museum of Modern Art, New
York • Edited by Harriet SchoenholzBee• Designedby StevenSchoenfelder• Production by Marc Sapir • Color sepa
ration by Barry Siddall, MR Reproduktionen, Munich • Printed and bound by PassaviaDruckservice, Passau• Set
in Officina and Bell Gothic, this book is printed on 135 gsm GaleriaArt Silk. • Printed in Germany* ©2000 by The
Museumof Modern Art, NewYork.• Certain illustrations are coveredby claims to copyright cited in the Photograph
Credits. All rights reserved.* Library of CongressCatalogueCard Number: 00-108144* ISBN 0-87070-021-9 (hard
bound, MoMA,Thames& Hudson)• ISBN 0-8109-6214-4 (hardbound, Abrams)• ISBN 0-87070-022-7 (paperbound,
MoMA)* Published by The Museumof Modern Art, 11 West 53 Street, New York, New York 10019. www.moma.org
• Hardboundedition distributed in the United States and Canadaby Harry N. Abrams,Inc., NewYork, www.abrams-
books.com• Hardboundedition distributed outside the United Statesand Canadaby Thames& Hudson,Ltd., London.
 CONTEMPORARY
ARTATMoMASINCEl 980
 Martin Kippenberger
Contents 1980 ! 18
Stanley Kubrick
1983 | 66
Stephen Armellino
1985 | 111
Jo Ann Callis
Bruce Nauman
Barry Levinson Marc Newson
Cindy Sherman John Canemaker Robert Frank Jeffrey Scales Gregory Crewdson
Foreword
Vito Acconci John Divola Bernard Tschumi Abigail Child Adam Fuss
Glenn D. Lowry | 8
Martin Scorsese Jannis Kounellis Anselm Kiefer George Kuchar Nic Nicosia
Niklaus Troxler Richard Prince Jasper Johns Nikita Mikhalkov Paul Thek
Introduction
Jean-Luc Godard Woody Allen Jean-Michel Basquiat Paolo Taviani Pedro Almodovar
Kirk Varnedoe| 11
Rainer Werner Fassbinder Terry Jones David Salle Vittorio Taviani
Lino Brocka Terry Gilliam Sir Norman Foster David Hammons 1989 | 221
Plates:Art at MoMA
John Hejduk Bruce Nauman James Herbert Leon Golub Cindy Sherman
Since 1980 I 16
Toshiyuki Kita Joel Sternfeld Philip-Lorca diCorcia Christopher Wilmarth Marlon Riggs
Philip Guston Kathryn Bigelow John Schlesinger Alberto Meda Martin Scorsese
Jorg Immendorff Monty Montgomery Claude Lanzmann Eric Fischl Richard Sapper
Louis Malle Edward Ruscha Art Spiegelman Tina Barney Sam Lucente
Shohei Imamura Martin Scorsese Mike Kelley Jac Leirner Thomas Ruff
Yoji Yamamoto Federico Fellini Thomas Florschuetz Tony Cragg Edin Velez
Carlos Diegues Nicholas Nixon Willem de Kooning Frank Gehry Carroll Dunham
Hector Babenco Anselm Kiefer John Coplans Andy Warhol Tadanori Yokoo
Jan Groover Lothar Baumgarten Nathaniel Dorsky Elizabeth Diller
1981 | 35 Francesco Clemente Terry Gilliam Mary Lucier Ricardo Scofidio
Leon Hirszman Mike Leigh Jeff Koons Anish Kapoor Rafael Vinoly
Seiichi Furuya Lizzie Borden James Casebere John Huston Bruce Nauman
Peter Hujar Jorg Immendorff Trinh T. Minh-ha John Boorman Gilbert and George
Rainer Werner Fassbinder Mazda Motor Corporation Susan Rothenberg Aleksandr Askoldov Laurie Simmons
James Welling Bill Viola Mario Merz David Levinthal
Bernard Tschumi Mako Idemitsu 1986 | 133 Office for Metropolitan Oliver Stone
Frank Gohlke Michael Spano Susan Rothenberg Architecture Spike Lee
Georg Baselitz Jonathan Borofsky Bill Viola Chris Killip
Scott Burton Shiro Kuramata 1988 | 185 Office for Metropolitan
Lee Friedlander 1984 | 90 Bernhard and Anna Blume Wolfgang Laib Architecture
Cindy Sherman Frank Stella Robert Gober Bernd and Hilla Becher Kazuo Kawasaki
Willem de Kooning Sigmar Polke Ellsworth Kelly Steven Holl Art Spiegelman
George Miller Bruce Nauman Larry Fink Jean-Luc Godard John Woo
Claes Oldenburg Patrick Faigenbaum Christian Boltanski Ida Applebroog
1982 | 49 Sergio Leone Eugenio Dittborn Allen Ruppersberg Peggy Ahwesh
A. R. Penck Neil Jordan Bertrand Tavernier Tadanori Yokoo Shiro Kuramata
Andrzej Pagowski Gary Hill Niklaus Troxler David Wojnarowicz Edward Ruscha
Vija Celmins Mary Ann Toots Zynsky Francesco Clemente Ashley Bickerton Jose Leonilson
Werner Herzog Andy Warhol James Ivory Zeke Berman Sadie Benning
Barbara Kruger Anselm Kiefer John Frankenheimer Morphosis Marc Newson
Katharina Fritsch Sherrie Levine John Baldessari Richard Artschwager Joan Jonas
Krzysztof Kieslowski David Goldblatt Bill Sherwood Mike and Doug Starn Giuseppe Penone
Ingmar Bergman Judith Joy Ross Louise Bourgeois Gerhard Richter Gundula Schulze
Tina Barney Aldo Rossi Jeff Koons Lawrence Charles Weiner Martin Parr
Nicholas Nixon Su Friedrich Edward Ruscha Clint Eastwood Steina Vasulka
Judith Joy Ross Hou Hsiao-hsien Terry Winters Bruce Nauman Robert Gober
Wayne Wang frogdesign Robert Breer Ilya Kabakov Thomas Schritte
Barry Levinson Allan McCollum Frank Gehry Stephen Peart Tadao Ando
Uwe Loesch Paul Graham Anish Kapoor Bradford Bissell James Lee Byars
William Wegman John Cassavetes Gaetano Pesce Jeff Koons Steven Holl
Paul Rand Greta Schiller Janice Findley Giinter Forg
Ridley Scott Robert Rosenberg Andy Warhol Tony Oursler 1990 | 257
Joan Fontcuberta Martin Puryear Clint Eastwood Constance DeJong James Turrell
Philip-Lorca diCorcia Robert Ryman Oliver Stone Julie Zando Joel Shapiro
Paul Bartel Jim Jarmusch Louise Lawler Steven Holl
Woody Allen 1987 | 161 Roy Lichtenstein Christopher Wool
Stanley Kubrick Matt Mullican Martin Kippenberger
David Wojnarowicz
John Barnard Frank Gehry Antonio Citterio DorisSalcedo RachelWhiteread Essays | 503
Gary Hill Brice Marden Glen Oliver Low LaurieAnderson FranzWest
General Idea Robert Gober Jean Nouvel Joel Sanders LewisKlahr Checklistof
Lari Pittman Cindy Sherman Rachel Whiteread Herzog& de Meuron Sue Williams Illustrations | 541
Akira Kurosawa Janine Antoni Ian Hamilton Finlay Architects YukinoriYanagi
Brice Marden Martin Scorsese SigmarPolke Zhang Peili Acknowledgments| 551
Thomas Struth 1992 | 320 Ximena Cuevas ChuckClose DavidWilliams
Arata Isozaki Paul McCarthy Charles Ray MatthewBarney Pipilotti Rist PhotographCredits| 552
David Hammons Mike Kelley Rirkrit Tiravanija cyan
Richard Prince Roy Lichtenstein Cheryl Donegan Sheron Rupp 1998 | 462 Index of
Joel Sternfeld Christopher Connell Jos van der Meulen Stan Douglas Fiona Banner Illustrations | 555
Yvonne Rainer Ben Faydherbe Nam June Paik Jasper Johns Konstantin Greic
Kiki Smith Ingo Maurer Inoue Pleats Co., Ltd. Julia Loktev Trustees | 560
Elizabeth Murray Guillermo Kuitca 1994 | 367 LucTuymans Paul Winkler
Mike Kelley Willie Cole Hal Hartley CharlesLong
John Cage Arata Isozaki Quentin Tarrantino 1996 | 421 AlekseiGerman
Bruce Conner Richard Serra Lorna Simpson LucTuymans RichardSerra
Office for Metropolitan Peter Campus Renzo Piano Joel Coen Anish Kapoor
Architecture Rudolf Bonvie Takeshi Ishiguro John Sayles TerryWinters
Felix Gonzalez-Torres Santiago Calatrava Kim Jones Jose MariaSicilia GerhardRichter
Agnieszka Holland Jose Leonilson Andreas Gursky Flex DevelopmentB.V. GabrielOrozco
Zhang Yimou Louise Bourgeois Mona Hatoum MonaHatoum ChristianBoltanski
Yang Fengliang Rody Graumans Teiji Furuhashi John Armleder Jia Zhang Ke
Jim Nutt Christopher Bucklow Bill Viola DavidHammons MatthewBarney
Stephen Frears Terence Davies Jenny Holz'er KCHO(AlexisLeyva KaraWalker
Neil Winokur Sigmar Polke Robert Gober Machado) LucTuymans
Chris Killip Philip-Lorca diCorcia Ann Hamilton GarySimmons John Madden
Francis Ford Coppola Juan Sanchez Ross Bleckner GabrielOrozco Robert Rauschenberg
Martin Scorsese Raymond Pettibon Michael Schmidt ChrisOfili ChrisOfili
Rosemarie Trockel Thomas Roma Jeanne Dunning EnriqueChagoya
1991 | 291 Mark Steinmetz Richard Artschwager ThomasDemand LisaYuskavage
Toshiyuki Kita Gabriel Orozco Uta Barth Andrea Zittel ElizabethPeyton
Annette Messager Donald T. Chadwick Cy Twombly WernerAisslinger PhilippeStarck
Peter Eisenman William Stumpf Philippe Starck FranzWest RalphSchmerberg
John O'Reilly Neil M. Denari Rineke Dijkstra Al Pacino MarikoMori
Boris Mihailov Simon Patterson Marlene Dumas TorayIndustries, Inc. Cai Guo-Qiang
Shimon Attie Chris Burden Hella Jongerius KenJacobs RachelWhiteread
Julie Dash Clint Eastwood James Turrell Igor Moukhin WilliamKentridge
Toyo Ito Jeff Scher KikiSmith
Warren Sonbert 1993 | 344 Barbara Kruger RaymondPettibon 1999 | 486
Ernie Gehr Clint Eastwood Louise Bourgeois KaraWalker WilliamKentridge
Annette Lemieux Reiko Sudo Bob Evans Arthur Omar Phil Solomon
Oliver Stone Helen Chadwick Roni Horn KristinLucas Julian Opie
Tom Dixon Chris Marker Jean Nouvel VikMuniz AndreasGursky
Dieter Appelt Zacharias Kunuk Alberto Meda BarbaraBloom
Jean-Michel Othoniel Anselm Kiefer Glenn Ligon 1997 | 442 Jean-MarieStraub
Vito Acconci Glenn Ligon Fred Tomaselli DanieleHuillet
Felix Gonzalez-Torres Rosemarie Trockel 1995 | 399 ChuckClose CarrollDunham
Tejo Remy Brice Marden Carrie Mae Weems ArnulfRainer DamienHirst
Enzo Mari Herzog & de Meuron Louise Bourgeois MartinPuryear E.V.Day
Abelardo Morell Architects Marcel Wanders Stan Brakhage ChrisOfili
Zaha M. Hadid Ellsworth Kelly Tom Friedman ReikoSudo RichardSerra
Glenn Ligon Roni Horn Peter Halley DanielLibeskind Shahzia Sikander
David Wojnarowicz Robert Therrien Toba Khedoori WillieCole
Allen Ruppersberg Derek Jarman Ellen Gallagher KikiSmith 2000 | 499
Raymond Pettibon Fernando Campana Toyo Ito WilliamKentridge Jean-Luc Godard
Christopher Wool Humberto Campana KCHO(Alexis Leyva John Baldessari Faith Hubley
Machado) MatthewBarney
17
Foreword

OpenEnds is the third and final of three cyclesof either respond to earlier questions or affect later
exhibitions organized by The Museumof ModernArt decisions.
under the banner MoMA2000 to mark the millen Takentogether ModernStarts, MakingChoices,
nium. Selected entirely fromthe Museum'sextensive and OpenEnds are meant to provoke new responses
collection and presented over a seventeen-month and new ideas about modern art. They are not
period, these cyclesof exhibitions have been meant to be overarching or definitive statements
conceivedto explore issues and themes in modern about modern art or even about the nature of The
art through the filter of the Museum'sholdings. Museumof ModernArt's collection but, rather,
ModernStarts, which focused on the period 1880 to interrogatory ones that can help shape future issues
1920, was followedby MakingChoices,which dealt and concerns to be dealt with as the new century
with the years 1920 to 1960. This concluding cycle, unfolds. The ability of The Museumof ModernArt
OpenEnds, examinesthe art of 1960 to the present. to embark on this initiative is the result of several
Allthree cyclestake a multidisciplinaryapproachand generations of collecting that have allowedthe
include works of art from all of the Museum'scura Museumto acquire holdings of unparalleled rich
torial departments: Architecture and Design, Draw ness and complexity.Indeed, many of the most
ings, Filmand Video,Painting and Sculpture,Photog important historical developmentsin modern art
raphy, and Prints and Illustrated Books, presented that have emerged over the last one hundred years
in a series of synthetically organized exhibitions. are represented in the Museum'scollection.
The chronologicalframeworkof the cyclesis AlfredH. Barr, Jr., The Museumof ModernArt's
intended only as a convenient means of loosely founding director, spoke of the Museum'scollection
organizing a considerablebody of material into a as being metabolic and self-renewing.Whilehe
coherent group of exhibitions. Overthe last seventy meant this in terms of the Museum'sability to con
years, The Museumof ModernArt has argued for an stantly acquire new works of art through selective
understanding of modern art through a carefully de-accessioningof its more historical holdings, the
articulated history of this still-evolvingtradition. idea of an institution capable of considering and
By establishing a reading of modern art based on reconsidering itself in response to the ongoing and
critical dates, styles, schools, and key artists, the continuous inquiry about modern art is central to
Museumsought to make sense of the often com any understanding of the Museum.There is within
peting and contradictory forces of this tradition. the Museuma lively debate about which artists to
ModernStarts, MakingChoices,and OpenEnds build collect, which works of art to display, and which
on this work but endeavor to provide a more inter exhibitions to mount. At the heart of these discus
disciplinaryapproach to the material. Each cycle sions is alwaysthe question of how to display our
explores relationships and shared themes as well collection, what issues and themes to focus on, and
as divergent movementsand conflicting points of what juxtapositions and relationships to highlight
view by juxtaposing works of art in new and chal or emphasize. Giventhe cost and complexityof
lenging ways. Individual exhibitions within each making significant architectural changes to the
cycle concentrate on issues germane to the period Museum'sgalleries in order to create spaces that
under consideration, but the works of art chosen allow for different kinds of presentations of the
for these exhibitions often span the century in collection, the changes effected by these debates
order to reveal how themes from one movement can take years to be realized.
 ModernStarts, MakingChoices,and OpenEnds prehensive overviewof what the Museumhad ac
are thus unique opportunities for the Museumto quired over the last seventy years. Subsequently,
literally reconfiguremany of its galleries and explore smaller working groups were asked to study specific
its collection in a way that is almost impossibleto aspects of the collection and report back to the full
do on an ordinary basis. Each cycle should be seen staff on their findings. Other research departments
as an experiment designed to offer a different read of the Museum,including conservation, education,
ing or understanding of modern art while providing the library, and the archives, were also invited to
a more thorough investigation of the depth and participate in these discussions. Eventuallywe de
breadth of the collection. In doing so we hope we cided that to examine the collection to the extent
will have turned the Museuminto a laboratory we wished, we needed to use all of the Museum's
where arguments and counter-arguments, issues, galleries for this project and to divide the project
and ideas of modern art can meet and be explored into three separate cycles of exhibitions, each
in a way that allowsfor the emergence of new anchored around a chronologicalmoment equal to
approaches to our history, and by extension, the roughlya third of the period coveredby our holdings.
history of modern art. This becomes especially The organization of each cycle was entrusted
important as the Museumprepares for a major to an interdepartmental team. Each of the teams
architectural reconstruction, scheduled to begin was encouraged to pursue its own interests and
when MoMA2000 closes. ideas and to articulate them in unique and different
The idea for this series of exhibitions began voices. Takentogether ModernStarts, Making
more than four years ago when a retreat was held Choices,and OpenEnds are not meant to be read
with seven chief curators of the Museumto con as a continuum, as if each were a part of a larger,
sider what might be done in recognition of the seamless whole; rather, they are meant to provide
closing of the century that saw the birth of modern three separate and distinct "takes" on modern art as
art as well as the founding of The Museumof Mod represented by the collection.
ern Art in 1929. After extensive discussion we As noted above, MoMA2000 evolvedout of
felt that for an extended period of time we should lengthy discussions with the Museum'sseven chief
concentrate on our own collection, devoting to it curators, all of whom—MaryLea Bandy, John
the attention we wouldnormallygiveto the develop Elderfield,Peter Galassi,Terence Riley, Margit
ment of a major loan show. Wewere attracted to Rowell,KirkVarnedoe,and DeborahWye— made
this idea because it afforded us the opportunity to important contributions to the form it took. Its
reconsider the way we present our collection to the overall coordinationwas providedby John Elderfield
public as well as the chance to look back, from the (from 1996 to 1998) and MaryLea Bandy (since
vantage point of the end of the century, over one 1999) in the capacity of DeputyDirectorfor Cura
hundred years of modern art while posing questions torial Affairs,and by Beatrice Kernan, Assistant
that would guide our thinking about modern art DeputyDirectorfor CuratorialAffairs,assisted
into the next century. We quickly realized that by Sharon Decand AmyRomesburg,and working
despite the synthetic nature of The Museumof closelywith Jennifer Russell, DeputyDirectorfor
ModernArt's collection, no exhibition or series of Exhibitionsand CollectionsSupport, Michael
exhibitions could ever hope to provide a genuinely Maegraith,Publisher, and Jerome Neuner, Director
comprehensiveaccount of a tradition of that is still of ExhibitionDesign and Production. OpenEnds
very much alive and evolving.This led to the recog has been skillfullyand insightfully directed by Kirk
nition that the greatest contribution that we could Varnedoe, ChiefCurator, Departmentof Painting
make at this time would be to show as much of the and Sculpture; Paola Antonelli, Curator, Department
collection as possible, including both familiar and of Architecture and Design;and Joshua Siegel,
unfamiliar works of art, in new and imaginative Associate Curator, Department of Filmand Video,
ways that open up possibilities for us, and our pub assisted by Judith Hecker and AmyHorshak.
lic, to examine the future.
Giventhe magnitude of this task, the entire GlennD. Lowry
curatorial staff embarked on an extended review of Director
the collection and worked together to create a com The Museumof ModernArt
Introduction Kirk Varnedoe

his volume presents a selec the essays address themes taken up by individual
tion of artworks made after exhibitions within OpenEnds, although the texts
1980, drawn from the collec are not descriptions of those thematic displays.
tion of The Museumof Mod Still, many of the works in the exhibition are
ern Art. The works, in diverse not in the book, and vice versa. A principal dif
mediums, come from each of ference involves the period covered. OpenEnds
six curatorial departments in focuses on works in the collection dating from
the Museum: Painting and 1960 to 2000, and initially this book was to have
Sculpture, Drawings,Prints covered a similar scope. However,it soon became
and Illustrated Books, Archi clear that it would be impossible, in one volume,
tecture and Design, Photography, and Film and to feature the better-known works of the 1960s
Video. The dominant purpose of the volume is and 1970s—including, for example, the master-
visual information; but its eleven thematic essays works of Pop and Minimalism— and also to show
suggest particular concerns that unite works of case the richness of the Museum's acquisitions of
different dates, styles, or mediums. recent art of the 1980s and 1990s. Acutely aware
The book was conceived during the planning of how little chance the public has had to see the
of the exhibition OpenEnds, the third and conclud scope and variety of the Museum's contemporary
ing cycle in the Museum's series of MoMA2000 acquisitions, we decided to focus in the publica
exhibitions. This series, held at The Museum of tion exclusivelyon the period after 1980. The book
ModernArt from autumn 1999 through spring thus allows maximum exposure for the least-known
2001, has been drawn entirely from the holdings part of the Museum's collection, and underlines
of the Museum, and has been presented as a re the institution's continuing engagement with con
examination of the history of modern art and of temporary art. Even with the expanded focus, how
the Museum's collection. It has sought to inte ever, it should be recognized that the illustrations
grate works from all curatorial departments and gathered here represent only a relatively narrow
across traditional historical categories in ways that selection of the far larger and more comprehensive
could provide a testing-lab for fresh consideration acquisitions of post-1980 works. Whilepreliminary
of what the Museumhas done in the past—and lists were solicited from the various curatorial
might do in the future—with its incomparable departments, the final selections were ultimately
collection. the responsibility of the book's editors.
ModernContemporarywas organized in a paral
lel spirit. From the outset, it was meant to accom Modernand ContemporaryArt at MoMA
pany OpenEnds, but not to serve as its catalogue.
It was intended to be an independent publication, The Museum of Modern Art was founded as, and
whose contents were selected separately from the has always been, an institution committed to con
exhibition lists and structures. Of course, the con temporary art. From the inauguration in 1929, and
tents of book and exhibition often overlap: both for many years after, it was thought that the "per
draw from the same collection, and many of the manent" collection would have relatively constant
same highlights are featured. Similarly,some of dimensions, but ever-changing elements. The
111
 founding director, Alfred H. Barr, Jr., proposed eluded or superseded—and thus that contemporary
the notion of a torpedo through time, conjuring art today can be understood as the ongoing exten
the image of a forward-movingcollection that sion and revision of those founding innovations
would always have its "nose" in the present and and debates. The collection of The Museum of
immediate past, and a "tail" in the receding past ModernArt is, in a very real sense, that argument.
about fifty years distant. The metaphor implied Contemporaryart is collected and presented at this
that, as a balance to its ongoing acquisitions of Museumas a part of modern art—as belonging
new art, the Museumwould steadily divest itself of within, responding to, and expanding upon the
the older art in its possession, as that older art frameworkof initiatives and challenges established
became more "classic" than "modern." This prac by the earlier history of progressive art since the
tice was designed to keep the Museumforever fresh dawn of the twentieth century.
and free from the burdens of an extended history, The historical collection provides a special
and also indicated pragmatic concerns for limiting implicit framework, illuminating and demanding,
the size of the collection and for providing, by the within which to present the art of today. And, con
occasional sale of the older artworks, a renewable versely, a continued engagement with today's art
1 source of funding for future purchases. constantly challenges the curatorial staff to reex
Had the notion of the torpedo been followed amine and reinterpret the history of innovations
literally, the earliest works in the Museum's collec that preceded it. Without the dialogue between
tion would now be those of the early 1950s. these twin aspects, The Museumof ModernArt
Instead, the early 1950s were precisely the point would be a far less rewarding place for viewers to
at which the Museumbegan to accept—tentatively visit, for the staff to work, and for artists to show
and piecemeal at first, then as a matter of general their work. The trick is, of course, to find the proper
principle—that it would retain its collection of balance, in institutional time and resources,
Post-Impressionist masterworks (such as Cezanne's between the care and elucidation of the classic
Bather and van Gogh's TheStarry Night) as the modern collection and the everyday-renewedneed
starting point of its painting and sculpture collec for growth and change. The works shown in this
tion. (Other curatorial departments had different book are an important part of that process of
points of departure for their collecting: Photog growth—of the constant amendment, revision, and
raphy and Film, for example, include the begin expansion of the collectionthat, in sum, constitutes
nings of their mediums, around 1840 and 1890, an evolving definition of what the institution is.
respectively). This change meant that the tail of
Barr's torpedo would become permanently pinned Past Bedrocksand Present Risks
to around 1880, while the nose would continue
to advance. The resultant tensions and stretches— The GermanExpressionist painter Franz Marc once
between the ever-more-certified treasures of the said, "Traditions are wonderful things—to create."
historical collection and the seemingly ever-more- The presence of a great historical collection at The
perilous adventures of collecting the art of the Museumof ModernArt is a source of pride and
present—defined the character of The Museumof incentive to those who acquire new art for the
ModernArt in the last half of the twentieth century. Museum. But, contrary to the suspicions of some
Those who have worked at the Museumin re critics of MoMA,the historical collection does not
cent years, and those who have supported it, have provide a monolithic canon against which poten
felt that its built-in duality—the simultaneity of its tial new acquisitions can be universally measured,
commitments to what might be called classic mod nor any sharply defined template for the institu
ern art and to the creativity of the immediate pre tion's future. In this respect, Alfred Barr—the son
sent—not only makes sense, but creates the spe of a preacher, and often described as a mission
cial quality of the institution. There is an argu ary—mayhave left his best legacy to subsequent
ment to be made that the revolutions that origi curators, not in the form of a theological ortho
nally produced modern art, in the late nineteenth doxy but in the form of an existential injunction
and early twentieth centuries, have not been con- to act and to take chances. He always insisted that
12 |
if, two decades later, even a tenth of the works The policy holds that such works should not be
acquired in a given year were deemed worthy of sold in order to fund the speculative field of con
showing on a long-term basis, it would be temporary art but only to acquire what are deemed
a positive accomplishment. And he insisted that, better works of the same kind or, alternatively, to
in the eyes of history, sins of omission look worse acquire works that have over the years become
than sins of commission:that is, the curator is desirable additions to the historical collection.
more often damned for what he or she failed to
acquire, than for the things brought in that, over A ChangedContext
time, do not pan out.
A corollary of Barr's pragmatic outlook- For many years after its founding, The Museumof
humbling but encouraging at the same time—is ModernArt enjoyed a global pre-eminence owing
that the quality of the collection is as much a mat at least in part to the uniqueness of its mission.
ter of retrospective refinement as of on-the-spot But one measure of success is emulation, and,
discernment. It is easy to presume, given the beginning in the 1960s, numerous institutions in
many masterworks of early modern art in the col the United States and abroad, either newly founded
lection, that the Museumhad, early on, a "hot or reinvigorated, began to take up a parallel com
hand" for identifying and obtaining superior pieces mitment to modern—and especially to contempor
of then-contemporary art. A closer look will show, ary—art.At the start of the twenty-first century,
however, that the institution began conservatively, this competitive element has become ever more
and got more "progressive" as it aged. In the mid- intense, as the status of contemporary art—among
19305The Museumof ModernArt looked more like both private and state-supported institutions,
a museum of Kolbe, Maillol,and Pascin; it became and among the wealthiest private collectors—has
the Museumof Picasso, Matisse, Malevich,and ascended dramatically. The bar has been (and
Duchamp only gradually—often by key purchases continues to be) raised, financially and in many
made with the benefit of considerable hindsight. other respects, for institutions like this one that
The purchase of Picasso's 1907 LesDemoiselles aim for primacy on this hotly contested terrain.
d'Avignonin 1937 is one example, the acquisition The depth and variety of the Museum's collection
of key Abstract Expressionist works in the 1970s of early modern art, still unrivaled, only adds to
another; and several key works of the late 1950s its future challenges—to build its collection in
and 1960s—by artists such as Rauschenberg, War a way that will both maintain the high levels of
hol, and Judd—were only brought into the collec quality established by its past, and also redefine
tion in the 1990s. In this respect as well as others, its singular character within a now crowded and
it would be mistaken to see the Museum'sview of intensely competitive field. One of the demands
earlier modern art as frozen, in opposition to its the altered situation places upon the Museumis
changing assessments of the present. Instead, that of carefully examining the mechanisms by
these two aspects—the revision and refinement of which the institution has thus far acquired art,
a view of history, and an openness to the lessons and of assessing their viability for the years
of contemporary creators—are often closely con to come. And in this regard, the impression this
nected, and evolve in dialogue. book presents—of a continuous, multimedia
However,one premise of the "torpedo," in collection—actually belies the more complex and
volving the relationship between the older and often fragmented procedures that brought these
newer parts of the collection, has become virtually works to MoMA.
inverted. It was originally thought that older mod
ern art from the collection would be sold to buy HowArt Enters the Collection
more up-to-date works. In more recent years, while
de-accessioning artworks has continued to be an Whilethe works in this book are presented as a
important means of raising money for acquisitions, continuum of various mediums, they entered the
an unwritten policy has evolved with regard to collection by different routes, determined by the
works whose worth has been validated by history. six different curatorial departments (divided
 according to medium) within the Museum. Each and strategies may vary widely. This produces a
department has its own budget and its separate diverse range of approaches pursued simultane
acquisition committee, made up of Trustees and ously at any given moment in the Museum'shistory.
other invited patrons of the Museum. The basic It also means that each department's collection
mechanism of acquisition is everywherethe same: accumulates a particular set of idiosyncratic
curators propose, and committees dispose. Works strengths and weaknesses—pockets of concentra
proposed for acquisition (including gifts offered) tion and broad patterns of representation—that
are presented at committee meetings by curators, reflect different generations of leadership. Each
who argue for the addition of the works to the new set of "builders" must in turn choose how to
collection. The committee (whose members build further upon, or compensate for, the particu
contribute most of the funds that make up the lar structures left by their predecessors. For exam
acquisition budget) then votes to accept or reject ple, when the photographer EdwardSteichen was
the proposed work. the head of the Department of Photography, his
Beyond that, however, departmental philoso collecting reflected ideas of a universal language
phies of collection-building may differ widely. of photography (as embodied most evidently in his
Some departments have specific exclusions built well-known 1955 exhibition TheFamily of Man);
into the representation of their respective fields. but his successor John Szarkowskifocused his col
Whilethe Department of Film and Video might lecting and exhibitions program on the work of
eagerly amass a collection of films related to war, particular artists. From Barr's early exhibitions on
for example, the Department of Architecture and Cubismand Surrealism to more recent shows
Design has always refused to collect weapons. Yet devoted to CyTwomblyor Japanese textiles, cura
while the design collection has been formed within torial programs of loan exhibitions have also
a generally very broad, non-restrictive considera opened special opportunities for acquisition, and
tion of functional and commercial objects, the left their mark on the permanent holdings of the
collection of film (while it includes such diverse Museum. Particular artists and schools have come
fields as feature films, animation, documentary, in and out of favor, and the collection records
and experimental works) has specificallyavoided these fluctuations. Barr did not share, for exam
collecting within the area of commissionedwork, ple, James Thrall Soby's early enthusiasm for Jack
which constitutes one of the largest areas of film son Pollock, and it was not until WilliamRubin's
production—thereby specificallyexcluding indus efforts in the late 1960s and 1970s that the
trial, religious, and pornographic films. The col Museum's exceptional holdings of this artist were
lecting of photography, film, and design objects finally formed. Soby's affection for the work of
at the Museum, meanwhile, proceeds in certain Pavel Tchelitchewin the late 1930s and early 1940s,
areas without regard for original artistic intention on the other hand, now seems a closed chapter in
(acquiring, for example, items such as propellers, collecting, without any subsequent reinforcement.
ball bearings, documentary photographs, family Examplesof similar shifts and stops and starts,
snapshots, instructional film, or home movies), corrections and revisions, mark every phase of the
while the departments of painting and sculpture, Museum's holdings in virtually every medium.
drawings, and prints only collect works defined In sum, while the collection of the Museum
and intended as art by their creators. No depart may seem to many outside observers to represent
ment aspires to anything like a reportorial or a monolithic structure, built according to some
archival inclusiveness in dealing with its respec uniform consensus, those inside the institution
tive field, though the Department of Prints and are most acutely aware of how its holdings are
Illustrated Books has made arrangements for actually a rich patchwork, formed—from the
the acquisition of every work issued by certain beginning and still today—within a shifting con
publishers who have had particular significance stellation of contingencies, including the changing
for their area. practices of separate departments, the divergent
Perhaps most crucially, the collection is built tastes of particular donors, and the shifting
by six separate staffs of curators, whose outlooks concerns of individual curators.
14 I
 The ParticularChallenges of Recent Art model of the unique, handmade object, preferring
instead mechanical means of production and mov
The collecting of contemporary art has, in the past ing more comfortablyin the zone of photography,
few decades, challenged the Museum's structures, prints, film, and video where infinite replication
both physical and organizational, in several ways. is implied. But, at the same time, that art has,
Most evidently, the scale of many important works regardless of medium, often been pressed into
in painting and sculpture has increased beyond conformitywith models of marketing and sales
the ability of the institution's building to contain associated with the traditional trade in paintings.
them, and the sprawling space requirements of Large-format,limited-edition works are now a
other works—especially in the area of installation staple of artists working in photography, film,
art, but also in photography, drawing, and print- and video, and the prices being asked are dra
making—have imposed sharp limitations on what matically, by quantum leaps, larger than those
can be on view at any given time. We hope to observed within these mediums prior to the 1990s.
address these challenges by the dramatic increase In these circumstances, more collective planning
in open, high-ceilinged galleries for contemporary and cooperation between the various departments
art within the new Museumbuilding designed by of the institution seems a priority for any reasoned
YoshioTaniguchi. There are no such direct, physi program of acquisitions. Accomplishingthat coor
cal solutions, however, for other, parallel conun dination, while honoring and accommodating the
drums. A number of impulses within new art since pluralism and curatorial autonomy that has thus
the 1960s—including Happenings or Performance far enriched the Museum's holdings, will be a key
Art, ConceptualArt, and Earthworks— have been goal of the present and future staff.
explicitly opposed to the idea of the collectible
object, and hence to a fundamental premise of the
traditional museum. And even within the domains
traditionally covered by the Museum'svarious
departments, there has been an important upsurge
of hybridization, intentionally and effectively
transgressing the boundaries between, say, video
and sculptural installation, or photography and
painting. Manyimportant artists since the 1960s
have conceived of their art as one program ex
pressed through diverse mediums, including not
only painting, sculpture, drawing, and printmak-
ing, but also often photography, film, and video.
Whileit was Barr's genius to propose that all the
diverse modern mediums—painting, film, photog
raphy, design, etc.—belonged together under one
roof, the idea of separate languages of expression,
and separate historical traditions, still shaped
the formation of the individual curatorial depart
ments. Now,when artists frequently work simul
taneously and interchangeably within several
different mediums, and criss-cross the traditional
lines between fine and applied arts as well, these
note curatorial divisions can frequently seem constrain
1 . Kirk Varnedoe, "The EvolvingTorpedo:
Changing Ideas of the Collection of Paint
ing and arbitrary.
ing and Sculpture of The Museum of Mod This intellectual challenge is linked, paradoxi
ern Art," in TheMuseumof ModemArt at
Mid-Century:Continuity and Change. Stud cally, with a shift in economic structures. Much of
ies in Modern Art, No. 5 (NewYork: The
Museum of Modern Art, 1995): 12-72. contemporary art has moved away from the basic
Note to the Plates
The following plates are arranged chronologically, beginning in 1980. All are works of art
in the collection of The Museum of Modern Art and represent acquisitions of contempo
rary work in the Museum's six curatorial departments: Painting and Sculpture, Drawrngs,
Prints and Illustrated Books, Architecture and Design, Photography, and Film and Video.
•The year in which a work was made or completed is referenced at the bottom of the
page next to the page number. The illustrations are accompanied by brief captions for
purposes of identification; these give a plate number, the name of the artist, title and
date of the work, and an abbreviated medium to indicate at a glance (and sometimes only
in a general way) whether a work is a photograph or a film, a drawing or a painting, a
print or a multiple, a sculpture or an installation, etc.
• The actual, complete medium of each work is given in the fuller caption in the Checklist
of Illustrations on page 541, along with other information. The checklist is organized
sequentially according to the disposition of the plates. There the reader will find for each
illustrated work the plate number, the full title, series (if applicable), date, medium, and
dimensions (in feet and inches, and in centimeters or meters, height before width before
depth). For prints, dimensions are given both for plate or composition (comp.) size and
sheet size, and the publisher, printer, and edition size are given where relevant. For
architecture, inclusive dates represent the period from commission or design to comple
tion; single dates may represent the point at which a drawing or model was made, and
"project" indicates that a work is unbuilt. For film and video, a work is represented either
by a still, or frame, from the work or a promotional image; and for these the country of
origin, type of film, and running length are given. For design objects and multiples, the
manufacturer may be given. For series in all mediums, a representative sample of the
whole work may be shown; the size of the whole will be indicated in the checklist entry.
The final part of most entries is the credit line, which indicates how the work entered
the Museum's collection.
•To locate works by particular artists, the reader may consult the Index of Illustrations,
on page 555, which lists the works alphabetically by artist and keys them by plate number.
Art at MoMASince 1980
1980 | 19
3. CindySherman.
Untitled FilmStill #58.
1980. Photograph
4. CindySherman.
UntitledFilmStill #57.
1980. Photograph
5. Cindy Sherman.
Untitled FilmStill #56.
1980. Photograph
6. Cindy Sherman.
Untitled FilmStill #54.
1980. Photograph

1 9 80 | 21
 'fclh/IA'L &>n. Mtr/iw

7. Vito Acconci.
Instant House #2, Drawing.
1980. Drawing

opposite:
8. Vito Acconci.
20 Foot Ladder
for Any Size Wall.
1979-80. Print
DENIRO

9. Martin Scorsese.
RagingBull. 1980. Film

opposite:
10. Niklaus Troxler.
McCoy/Tyner/Sextet.
1980. Poster
1 9 8 0 | 25
 i /v £ r
AftEL-

\i\-vto
11. Jean-Luc Godard.
Sauvequi peut (la vie).
1980. Film

26 I 1980
tfi is
12. Rainer Werner
Fassbinder. Berlin
Alexanderplatz.1980. Film

13. Lino Brocka. Bona.

1980. Film

opposite:
14. John Hejduk.
A.E.ByeHouse,Ridgefield,
Connecticut.Project,
1968-80. Architectural
drawing
1 9 80 | 29
15. Toshiyuki Kita.
Wink Lounge Chair. 1980.
Design

30 | 1980
16. Philip Guston.
Untitled.1980. Drawing
17. Philip Guston.
Untitled. 1980. Drawing
18. Philip Guston.
Untitled.1980. Drawing
19. Philip Guston.
Untitled. 1980. Drawing

1980 | 31
 20. Jorg Immendorff.
Cafe DeutschLand(Style War).
1980. Painting

opposite:
21. Louis Malle. AtlanticCity.
1980. Film
22. Shohei Imamura.
VengeanceIs Mine.
1980. Film

32 | 1980
1980 | 33
23. Yoji Yamamoto.
A River. 1980. Poster

opposite:
24. Carlos Diegues.
Bye Bye Brazil. 1980. Film

25. Leon Hirszman.

They Don't Wear Black Tie.
1981. Film

26. Hector Babenco.

Pixote. 1980. Film
1981 | 35
27. Seiichi Furuya.
Graz. 1980. Photograph

28. Seiichi Furuya.

Schattendorf. 1981.
Photograph

36 | 1981
29. Peter Hujar.
Portrait of David
Wojnarowicz. 1981.
Photograph

198 1 | 37
 30. Rainer Werner Fassbinder.
Lola. 1981. Film

31. Rainer Werner Fassbinder.

Lili Marleen. 1981. Film

opposite:
32. James Welling. Untitled #46.
May 20, 1981. Photograph

38 | 19 81
198 1 | 39
 ODDOOOOODDDDOODDODDOOOODOOQDOOOODODDDDOOD

^hH lj

v_7 * P \
D p >-»C ) <V i \
\%i
o«

dfe*

33. Bernard Tschumi.

The Manhattan Transcripts.
Episode4: The Block.
Project, 1976-81.
Architectural drawings

40 | 19 81
34. Frank Gohlke.
Aerial View, Downed
Forest near Elk Rock,
Approximately Ten
Miles Northwest of
Mount St. Helens,
Washington. 1981.
Photograph
35. Georg Baselitz.
Womanon the Beach,
1981. Print

36. Georg Baselitz.

Drinker. 1981. Print

42 | 1 9 8 1
37. Scott Burton.
Pair of Rock Chairs.
1980-81. Sculpture

198 1 | 43
38. Lee Friedlander.
Untitled. 1980. Photograph

39. Lee Friedlander.

Untitled. 1980. Photograph
 m, n0iiliiil*'l r i

40. Lee Friedlander.

Untitled. 1981. Photograph

198 1 | 45
41. Cindy Sherman.
Untitled #96. 1981.
Photograph

opposite:
42. Willem de Kooning.
Pirate (Untitled II). 1981.
Painting

46 | 1981
43. George Miller.
Mad Max 2 (The Road
Warrior). 1981. Film

44. A. R. Penck
(Ralf Winkler).
Nightvision. 1982,

45. Andrzej Pagowski.

Wolfs Smile (Usmiech Wilka),
1982. Poster
A'^-T - {/ 5 M t E~ CH- ly/ fC.^\A-
1982 49
46. Vija Celmins.
Alliance.1982. Print

opposite:
47. Werner Herzog.
Fitzcarraldo.1982. Film
stall

:
i';
111

BpHg
 divinity

48. Barbara Kruger.

Untitled (You Invest in the
Divinity of the Masterpiece).
1982. Painting

49. Katharina Fritsch.

Madonna. 1982. Multiples

52 | 1982

_
50. Krzysztof Kieslowski.
BlindChance.1982. Film

1 9 8 2 | 53
 si; 1

51. Ingmar Bergman.

Fannyand Alexander.
1982. Film

54 | 19 8 2
52. Tina Barney.
Sunday NewYork Times.
1982. Photograph

1 9 8 2 | 55
53. Nicholas Nixon.
Chestnut Street, Louisville,
Kentucky. 1982. Photograph

opposite:
54. Judith Joy Ross.
Untitled from Eurana Park,
Weatherly, Pennsylvania.
1982. Photograph

56 | 1982
1 9 8 2 | 57
 akfast • Lunch• Dinner
^/wie4e& ^dmetica/is Ramify ~Qe6faMant

55. Wayne Wang.

Chan Is Missing.
1982. Film

56. Barry Levinson.

Diner. 1982. Film

opposite:
57. Uwe Loesch.
Point (Punktum).
1982. Poster

58 | 198 2
Punktum.

1 9 8 2 | 59

y
58. William Wegman.
Blue Head. 1982.
Photographs

opposite:
59. Paul Rand.
IBM. 1982. Poster
o =»
••

1982 | 61
60. Ridley Scott.
Blade Runner. 1982. Film

opposite:
61. Joan Fontcuberta.
Guillumeta Polymorpha.
1982. Photograph
19 8 2 63
62. Philip-Lorca diCorcia.
Mary and Babe. 1982. Photograph

64 | 1982
63. Paul Bartel.
Eating Raoul. 1982. Film

1 9 8 2 | 65
64. Stephen Armellino.
Bullet-Resistant Mask.
1983. Design

66 | 19 83
65. John Canemaker.
Bottom's Dream. 1983.
Animated film

1 9 8 3 | 67
 66. John Divola.
Untitled. 1983.
Photograph

opposite:
67. Jannis Kounellis.
Untitled. 1983.
Sculpture

68 | 1983
 68. RichardPrince.
Entertainers.
1982-83.
Photograph

opposite:
69. WoodyAllen.
Zelig. 1983. Film

70 I 198 3
Lnce.

1 9 8 3 | 71
70. Terry Jones and Terry Gilliam.
Monty Python's The Meaning of Life.
1983. Film

72 | 1983
71. Swatch. 72. Swatch.
GB 001 Watch. GK 100 Jellyfish Watch.
1983. Design 1983. Design

1 9 8 3 | 73
74 | 1983
 74. Joel Sternfeld.
Houston, Texas. 1983.
Photograph

75. Joel Sternfeld.

CanyonCountry, California.
1983. Photograph

£r

opposite:
73. Bruce Nauman.
Human/Need/Desire.
1983. Sculpture

1 9 8 3 | 75
76. Kathryn Bigelow and
MontyMontgomery.
Breakdown(The Loveless).
1983. Film

76 | 1983
feSls-feS
' :•«
 HOLLYWOOD

IS A VERB

77. EdwardRuscha.
HollywoodIs a Verb.
1983. Drawing
78. Martin Scorsese.
The Kingof Comedy.
1983. Film

78 | 1983
79. FedericoFellini.
Andthe Ship Sails On.
1983. Film

1 9 8 3 | 79
 80. Nicholas Nixon.
C.C., Boston. 1983.
Photograph

opposite:
81. Anselm Kiefer.
DerRhein. 1983.
Illustrated book

80 1983
82. Jan Groover.
Untitled. 1983.
Photograph

opposite:
83. Francesco Clemente.
Conversionto Her. 1983.
Painting
1 9 8 3 | 83
 dP

84. Mike Leigh.

Meantime. 1983. Film

85. Lizzie Borden.

Born in Flames. 1983. Film

84 | 1 9 8 3
86. Jorg Immendorff.
Futurology.1983.Print
87. Mazda Motor Corporation.
MX5 Miata Automobile Taillights.
1983. Design

86 | 19 83
88. Bill Viola.
Anthem. 1983. Video

89. Mako Idemitsu.

Great Mother Part II: Yumiko.
1983. Video
90. Michael Spano.
Photogram—Michael Spano.
1983. Photograph

opposite:
91. Jonathan Borofsky.
Stick Man. 1983. Print

88 | 1983
 2

1983 89
92. Frank Stella.
Giufa, la luna, i ladri e le guardie.
1984. Painting

opposite:
93. Sigmar Polke.
Watchtower. 1984. Painting

90 | 19 84
: TTi'l,

1984 | 91
1

94. Bruce Nauman.

CrossedStadiums. 1984.
Drawing

95. Claes Oldenburg.

Proposalfor a Monument to
the Survival of the University
of El Salvador: Blasted Pencil
(That Still Writes). 1984. Print

opposite:
96. Sergio Leone.
Once upon a Time in America.
1984. Film

92 | 1984
97. Neil Jordan.
The Companyof Wolves.
1984. Film
98. Gary Hill. Why Do Things
Get in a Muddle? (Come on Petunia).
1984. Video

99. Mary Ann Toots Zynsky.

Bowl. 1984. Design

1984 | 95
96 | 1984
opposite:
100. Andy Warhol. 101. Anselm Kiefer.
Rorschach.1984. Departure from Egypt.
Painting 1984. Drawing
98 | 19 84
 v XI

opposite: 103. David Goldblatt. Mother and child in their home after the destruction of its shelter by officials of the Western
102. Sherrie Levine. CapeDevelopment Board, Crossroads,CapeTown, 11 October 1984. 1984. Photograph
Untitled (After Kasimir
Malevichand Egon Schiele). The shelter was a framework of Port Jackson brushwood staked into loose sand of the CapeFlats and covered by plastic
1984. Drawings sheets—black plastic near the base for privacy, translucent plastic over the roof for light. Neatly, without touching the
contents of the home or its occupants, a team of five overalled Black men, supervised by an armed White, lifted the
entire structure of frame and plastic skin off the ground and placed it nearby. Then they pulled off the plastic, smashed
the framework, and threw the pieces onto a waiting truck. Hardly a word was spoken. While they could legally destroy
the wooden framework, they were forbidden, by the quirk of a court decision brought against the State seeking to pre
vent these demolitions, from confiscating or destroying the plastic. So it was left where it fell.
Then the convoy—a police Landrover,the truck with the demolition squad and broken wood, and a Casspirwith
policemen in camouflage lolling in its armoured back—moved towards the next group of shelters.
For a while the woman lay with the child. Then she got up and began to cut and strip branches of Port Jackson bush
to make a new framework for her house.

19 84 99
104. Judith Joy Ross.
Untitledfrom Portraits at the
VietnamVeteransMemorial,
Washington,D.C.1984.
Photograph
 L F : I ;. \ 9.\ i S-
5/?°

I 1 I I llllllll I I I I

105. Aldo Rossi.

Cemeteryof San Cataldo,
Modena,Italy. 1971-84.
Architectural drawing

106. Aldo Rossi.

Cemeteryof San Cataldo,
Modena,Italy. 1971-84.
Architectural drawing

1984 101
107. Su Friedrich.
The Ties That Bind.
1984. Film

102 | 1984
108. Hou Hsiao-hsien.
Summerat Grandpa's.
1984. Film
109. frogdesign.
Macintosh SE Home
Computer. 1984. Design

104 | 19 84
110. Allan McCollum.
40 Plaster Surrogates.
1982-84. Installation

19 84 | 105
111. Paul Graham.
CrouchedMan, DHSS
Waiting Room, Bristol.
1984. Photograph

106 | 1984
 shouldfc>6
judgedas
individuals

112. John Cassavetes.

LoveStreams. 1984. Film

113. Greta Schiller and

Robert Rosenberg. Before
Stonewall.1984. Film

19 84 | 107
114. Martin Puryear.
Greed'sTrophy. 1984.
Sculpture

opposite:
115. Robert Ryman.
Pace. 1984. Painting
116. Jim Jarmusch.
Stranger Than Paradise.
1984. Film

117.WoodyAllen.
Broadway Danny Rose.
1984. Film

110 | 1984
118. Jo Ann Callis.
WomanTwirling. 1985.
Photograph

1985 | 111
119. Robert Frank.
Boston, March 20, 1985.
1985. Photographs

120. Bernard Tschumi.

Parede la Villette, Paris, France
1985. Architectural model

112 | 1985
1 9 8 5 | 113
 J-

121. Anselm Kiefer.

The Red Sea. 1984-85
Painting

114 | 1985
122. Jasper Johns.
Summer. 1985. Painting

1985 | 115
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123. Jean-Michel Basquiat.

Untitled. 1985. Drawing

116 | 1985
124. David Salle.
MuscularPaper. 1985.
Painting

1 9 8 5 | 117
 ttKSt - it :

125. Sir Norman Foster.

Hong Kong and Shanghai Bank,
Hong Kong. 1979-85.
Architectural drawing

126. James Herbert.

River.1985. Film

118 | 1 9 8 5
127. Philip-Lorca diCorcia.
Francesco.1985. Photograph

1985 | 119
128. John Schlesinger.
Untitled. 1985. Photograph

120 | 1985
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130. Art Spiegelman.

Maus: A Survivor's TaLe.
1980-85. Illustrated book

opposite:
131. Mike Kelley.
Exploring (from "Plato's
Cave,Rothko's Chapel, Lincoln's
Profile"). 1985. Drawing

122 | 1985
132. Thomas Florschuetz.
In SeLf-Defense.1985.
Photographs

124 | 198 5
133. Willem de Kooning.
Untitled VII. 1985. Painting

1 9 8 5 | 125
 -

134. John Coplans.

Self-Portrait.1985. Photograph

126 | 1985
135. Lothar Baumgarten.
Untitled(Fish). 1985. Print

1 9 8 5 | 127
136. TerryGilliam.
Brazil.1985. Film
opposite:
137. Jeff Koons.
Three Ball50/50 Tank.
1985. Sculpture
1985 | 129
138. James Casebere.
CoveredWagons. 1985.
Photograph
139. Trinh T. Minh-ha.
NakedSpaces:Living Is Round.
1985. Film

1 9 8 5 | 131
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,£ -
'*•' J

140. Susan Rothenberg.

Biker. 1985. Painting

132 | 1985
141. Susan Rothenberg.
Boneman. 1986.Print

1 9 8 6 | 133
142. Bill Viola.
I DoNot KnowWhat
It Is I AmLike.
1986. Video

134 | 19 86
 llmT
XX\*\Xa
a ^
1tmh™\

143. Shiro Kuramata.

How High the Moon Armchair.
1986. Design

1 9 8 6 | 135
144. Bernhard and Anna Blume.
Kitchen Frenzy. 1986. Photographs

145. Robert Gober.

Untitled. 1986.
Sculpture
1986 | 137
138 | 198 6
146. Ellsworth Kelly.
Three Panels: Orange, Dark
Gray, Green. 1986. Painting

1986 | 139
 T HJIT niiiijOT

147. Larry Fink.

Pearls, NewYork City.
1986. Photograph

148. Patrick Faigenbaum.

MassimoFamily, Rome. 1986.
Photograph

140 | 1986
 V •'/ ' • v^=

RAQUEL MENDOZA PUGA

IA MATliRANA CARDKMTL, (a) La Ne.
Companera de la Raquel Lara, operan (a) "La Regalona", Tender*.
mucbas detenciones por hur-
en Valparaiso, Santiago y Los

rsquiciainientu del que no habla re-

.n
torno. Senti, porquc ia misericordia de
la hora me impidid ver, que era obli-
gada a permanecer al interior de una
demollcldn de bjrbaros. Senti, como
despufs en eada ierremoto en que he

forma de tomar rnnriencia de tu abso-

luta soled .10 Senti, adcmfis, una suerte
de catatonia emoclonal, la sensacido
feroa de que !a locura csti allf, del lado
de ia muerte, hasta que un rhiste oldo

149. Eugenio Dittborn.

8 Survivors.1986. Print

1986 141
150. Bertrand Tavernier.
Round Midnight. 1986. Film

opposite:
151. Niklaus Troxler.
A Tribute to the Music of
Thelonious Monk. 1986. Poster
1 9 8 6 | 143
 wounded English soldiers traveling wrat on feet ~^%yi
order .gf the captain. Our captain is a fat lobster fratrfl the south
aflL Italv.Aaifob.-..whenin Taranto, dressed in the uniform crm ensign but,
v steering the ship now, wears a pair of whitd'frouSers andV
daAjM^^jggfc'ei and ppAvith shiny visor, the border of which ill
irifiime'd with chesroncd- silk. Our captain's duties are exactly as fol-*
tttaon
tiab present at the da of rjip^ps and to give the order
uHpV to P our l^ypeice#. Each tim'^g^iyg^ort, at the first shock of
tJ#
K the pro|^ll<y|§ c^pmin bounces li$? '£ to tfe^&ridgc,
He,
pa#§iB armed witl^a cyclopea|^begaphonew^}erywhich, i^i<i he
could quite convenient^-%ide JjK^g,^if^d|pger. The capfajli^^ows a
Tolling toot on his nickel fvljstte^which l^Athe cffecp&f {MiwanlfTt^
his modest person the one thousand two huu^reT^^^*^i4 six hun-
dered soldiers on board, after which he nose^Wie megapligne about
like a brigantine trombone, first in the direction of the stcm'Ahcn iij^
the direction of the stern, and fires this command twice: "Prcse^'ntf
lifeJackets!" But the captain lacks the temper of a commander: it's ob
vious to me and - I believe - obvious to him as well; this explains the
^^dffigeiace with whid$te^xies to make up for this lack, having recourse
^ drawing anchorat Taranto, he informed us:
J'-Vpi^'our fatheir^^o^femy^pnV' bift^'re as well, he lacked that
which istitfguisnes a TeS^^b}|qT)areiU^ The Gggtfn is a
iW goo^man; it would be better to say: h^M^S^fe^t^^lacking
the morfc sU^pHrig quires, he has set hims£f?p> fpliMnjft
professing an intense atjab^lity. Bp^^^ra^Sboundarics .putative^
family of six hundred ch'a^^Sffl^among^kem bbd£||4jft|i and ro
gues from every part of Italy, I imagine him iratthipPtrue, prfral fami-
ly and see him in the double role of pct-husbann(being dragged on 3^
ratic leash by an auj^ Amazon of a wife) and pet-father, overpo^frjfdj.'
&^wa^h(^ oiitjndf resigned' to the |$*Mmy of a swarm of rosy-cheeked,
^6a%:^fvtext y^phlilib^' spoil&lJ I Jvbnder what sort <of- control he can
 rail
ting on f
an to the hate
eturn to
indie
ith the captain
. _ followed in
^pfupon the mffler, sir, of the life
,, j^ldiers committed to your care, the
effectiveness of'-whieKfs guaranteed, I'm sure. It could have been
shown^just libw|\vell they work by putting them to the test back
•^ you, I'd have asked for a show of hands frojai
yhyygnickcd hose men who can't swim, from their number rd
trustworthy lads and ordered themjp tie on their lilfe jad
jt nothing
lasivc cnoui

152. Francesco Clemente.

The Departureof the
Argonautby AlbertoSavinio.
1986. Illustrated book

198 6 | 145
 153. James Ivory.
A Roomwith a View.
1986. Film

154. John Frankenheimer.

52 Pick-Up. 1986. Film

146 | 1986
.! *. 1 V

155. John Baldessari.

Untitled. 1986. Drawing

156. Bill Sherwood.

Parting Glances. 1986. Film

1 9 8 6 | 147
157. Louise Bourgeois.
Articulated Lair. 1986. Sculpture

148 | 1986
158. Jeff Koons.
Rabbit. 1986. Sculpture

150 | 198 6
159. Edward Ruscha.
Jumbo. 1985. Painting

1986 | 151
 160. Terry Winters.
Folio.1985-86. Prints

152 | 1986
161. Robert Breer.
Bang! 1986. Animated film

1 9 8 6 | 153
 162. Frank Gehry.
FishdanceRestaurant,
Kobe, Japan, c. 1986.
Architectural drawing

163. Frank Gehry.

Winton Guest House,
Wayzata, Michigan.
1983-86.
Architectural model

154 | 1986
164. Anish Kapoor.
A Flower, A Drama Like Death.
1986. Sculpture
156 | 1986
opposite:
165. Gaetano Pesce.
FeltriChair.1986. Design
right:
166. Janice Findley.
Beyond Kabuki. 1986. Film

1 9 8 6 | 157
167. Andy Warhol.
The Last Supper. 1986. Painting
1 9 8 6 | 159
168. Clint Eastwood.
Heartbreak Ridge.
1986. Film

169. Oliver Stone.

Platoon. 1986. Film
170. Stanley Kubrick.
FullMetalJacket. 1987.Film

1 9 8 7 | 161
 31 ;
jg » t . '•
• * ? If* V ,« i&ri i® al
i q * ; . £*?6

omovi

171. David Wojnarowicz.

Fire. 1987. Painting
172. Bruce Nauman.
Dirty Story. 1987.
Video installation
173. Barry Levinson.
Tin Men. 1987. Film

174. Jeffrey Scales.

12:54, A. Philip Randolph
Square. 1987. Photograph
175. Abigail Child.
Mayhem. 1987. Film

176. George Kuchar.

Creeping Crimson. 1987. Video

19 8 7 165
 177. Nikita Mikhalkov.
Dark Eyes.1987. Film

opposite:
178. Paolo Taviani and
Vittorio Taviani.
Good Morning Babylon.
1987. Film

166 | 1 9 8 7
179. David Hammons.
Free Nelson Mandela.
1987. Print

180. Leon Golub.

White Squad. 1987. Print

opposite:
181. Christopher Wilmarth.
Self-Portrait with Sliding Light.
1987. Sculpture

168 | 1987
 mmm

182. Alberto Meda. 183. Eric Fischl.

Light Light Armchair. Portrait of a Dog.
1987. Design
1987. Painting

170 | 1987
1 9 8 7 | 171
184. Tina Barney.
Sheila and Moya. 1987.
Photograph

172 | 1987
1 9 8 7 | 173
186. Tony Cragg.
Oersted Sapphire.
1987. Sculpture

174 | 19 8 7
187. Frank Gehry.
Bubbles Lounge Chair.
1987. Design

1 9 8 7 | 175
188. Andy Warhol.
Camouflage. 1987. Prints

176 | 1987
189. Nathaniel Dorsky.
Alaya.1976-87. Film

178 | 1987
190. Mary Lucier.
Ohio at Giverny: Memory
of Light. 1987. Video

191. Anish Kapoor.

Untitled (Red Leaf).
1987. Drawing

1 9 8 7 | 179
192. John Huston.
The Dead. 1987. Film
193. John Boorman.
Hope and Glory. 1987. Film

194. Aleksandr Askoldov.

The Commissar.1967-87. Film
195. Mario Merz.
Placeswith No Street.
1987. Sculpture

182 | 1987
196. Office for Metropolitan
Architecture.CityHallCompetition,
the Hague,the Netherlands.1987.
Architecturaldrawing
opposite:
197. Wolfgang Laib.
The Passageway.1988.
Sculpture

184 I 198 7
 HHH

198. Bernd and

Hilla Becher.
Water Towers. 1988.
Photographs

186 | 1988
199. Steven Holl.
AmericanMemorial
Library,Berlin,Germany.
Project,1988.
Architecturalmodel

1 9 88 | 187
 7*4^

1
!
w

• 5' • ».
%f t
Pflf ? ,

rt i
rb 1 i w^wm
isJhB

200. Jean-Luc Godard.

Puissancede ta parole.
1988. Film

opposite:
201. Christian Boltanski.
The Storehouse (La Grande Reserve).
1988. Sculpture

188 19 8 8
 - " • !'15p

? i.®,. * *
igff '
;v i.7 ,

19 88 | 189
 IT'S NOSTALGIA
if t-ran
GOOD
ARE
NOT CRYING?
YOU 24
HOURS
A
DAY LUCK!
everything is over
EVERYTHING
IS OVER NO Who's
afraid
NOTHING
Everything
is over
of the
everything is over I'VE GOT
Everything
IsOver
EVERYTHING
ISOVER T SOMETHING New
AG090N lino
isover S
Ewyfagisfar ONLY
everything is over
EVERYTHING
IS OVER PLEASE mte(eN0W
202. Allen Ruppersberg.
Preview. 1988. Prints

opposite:
203. Tadanori Yokoo.
Japanese Society for the
Rights of Authors, Composers,
and Publishers. 1988. Poster

190 | 1988
 [rentawo taki
Ikosaku YAMAHA

[orchestra

1988 | 191
204. David Wojnarowicz.
The Weight of the Earth, Part I.
1988. Photographs

opposite:
205. Ashley Bickerton.
Tormented Self-Portrait (Susie
at Aries). 1987-88. Painting
 SELF FORI' RAIT
SURFER
[VOICE

RENAULT
UUi&oii ©>00
§ ABO®
®®efl®
jVlczcgf
Gillette

CLOSE-UP LIGHTS

CITIBANK

USAA

_ .Con
Edison
 206. Zeke Berman.
Untitled. 1988. Photograph

opposite:
207. Morphosis.
6th Street House Project.
Santa Monica, California.
1987-88. Architectural print

194 | 1988
ft_ Yh—
 Mrsmmaa

WBtm

196 | 1988
 iHMSf

opposite: 209. Mike and Doug Starn.

208. Richard Artschwager. Double Rembrandt with Steps. 1987-88.
Double Sitting. 1988. Painting Photographic collage

1988 | 197
210. Gerhard Richter.
October18, 1977. 1988.
Five of fifteen paintings:
Funeral (Beerdigung)

overleaf:
Cell (Zelle); Flanged(Erhangte);
Youth Portrait (Jugendbildnis);
Record Player (Plattenspieler)

198 | 1988
*
200 | 1 9 8 8
1 9 8 8 | 201
211. LawrenceCharlesWeiner.
Rocksupon the Beach/Sand upon
the Rocks. 1988. Installation

opposite:
212. Clint Eastwood. Bird.
1988. Film
19 88 | 203
opposite:
213. Bruce Nauman.
LearnedHelplessnessin 214. Ilya Kabakov.The Man
Rats (Rockand RollDrummer). WhoFlewInto His Picture.
1988. Videoinstallation 1981-88. Installation

1 9 8 8 | 205
215. Stephen Peart and
Bradford Bissell. "Animal"
WetSuit. 1988. Design
opposite:
216. Jeff Koons.
Pink Panther. 1988. Sculpture
19 88 | 207
 217. Gunter Forg.
Stairway. 1988.
Photograph

opposite:
218. Tony Oursler and
Constance DeJong.
Joyride. 1988. Video

219. Julie Zando.

Let's Play Prisoners.
1988. Video

208 | 1 9 88
 "
. . :

19 88 | 209
220. Louise Lawler.
DoesAndy Warhol Make
You Cry? 1988. Photograph
 II

221. Roy Lichtenstein.

BauhausStairway. 1988.
Painting

1988 211
 OODOC

<§>^@©0®©©
(•I (U (•! (®l (SI (£l M 0
0 @(Ti© 0 O <1»
(Si
@© © (gl@0 (Ti0

<*H*i(i»®©©®(§i
©fiSOG©©©
3><J>®©0©#©
©0©0©©©<1>
©©©OCDOO©
©O00®OO(S
©©©©©©©©
©o#©oo®o
©O®©©©0©
©®o©©@©o
OO00OOOO
o®©@©#@©

222. Matt Mullican.

Untitled.1988.Prints

212 | 1988
fl
—
,EL
r— i >-

onfe/Al
sesaa

iTiiTin
'''''in

1988| 213
 .... 411

223. Martin Kippenberger.

The World of the Canary. 1988.
Drawings

opposite:
224. Marc Newson.
Wood Chair. 1988. Design

214 | 19 88
1 9 88 | 215
225. Gregory Crewdson.
Untitled from the series Natural
Wonder. 1988. Photograph

216 | 1 9 88
';
1 s-

®'ajy®

226. Adam Fuss.

Untitled. 1988. Photograph

1 988| 217
 227. Nic Nicosia.
Real Pictures #11.
1988. Photograph

M opposite:
228. Paul Thek.
The Soul Is the Need
for the Spirit. 1988.
Drawing

218 | 1988
iingProgram

1 9 88 | 219
 229. Pedro Almodovar.
Womenon the Verge of a
Nervous Breakdown.
1988. Film

opposite:
230. Cindy Sherman.
Untitled #197. 1989.
Photograph

220 | 1988
1 9 8 9 | 221
231. Marlon Riggs.
TonguesUntied. 1989. Video

opposite:
232. Martin Scorsese.
The Last Temptation of Christ.
1989. Film

222 | 1989
1 9 8 9 | 223
233. Richard Sapper and
Sam Lucente. Leapfrog Computer.
1989. Design

opposite:
234. Thomas Ruff. Portrait.
1989. Photograph
1 9 8 9 | 225
235. Edin Velez.
Danceof Darkness.
1989. Video

226 | 1989
 C\l-~ §H . *lo '/If

236. Carroll Dunham.

Shadows. 1989. Prints

opposite:
237. Tadanori Yokoo.
Fancydance.1989. Poster

228 | 1989
1 9 8 9 | 229
238. Elizabeth Diller and
RicardoScofidio. SlowHouse,
LongIsland, NewYork.1989.
Architecturalmodel

239. Rafael Vinoly. Tokyo

International Forum,Tokyo,Japan.
1989. Architecturaldrawing

230 | 1989
240. Bruce Nauman.
Modelfor AnimalPyramidII.
1989. Photographiccollage

1 9 8 9 | 231
241. Gilbert and George.
Downto Earth. 1989. Painting

232 | 1989
DOWN
to
EARTH
 242. Laurie Simmons.
Walking House. 1989.
Photograph

opposite:
243. David Levinthal.
Untitled from the series
Cowboys.1989.
Photograph

234 | 1989
1 9 8 9 | 235
 244. Oliver Stone.
Born on the Fourth of July.
1989. Film

245. Spike Lee.

Do the Right Thing.
1989. Film

opposite:
246. Chris Killip.
Untitled. 1989. Photograph

236 | 1989
1 9 8 9 | 237
238 | 198 9
opposite:
247. Office for Metropolitan
Architecture. National Library of
France(Tres Grande Bibliotheque), 248. Kazuo Kawasaki.
Paris. Project, 1989. Architectural Carna Wheelchair. 1989.
model Design

1 9 8 9 | 239
 The Bastard Offspring
of Art and Commerce
murder their parentsand
go off ona Su ndayOuting.

v-f-

249. Art Spiegelman.

Lead Pipe Sunday. 1989.
Print

250. John Woo.

The Killer. 1989. Film

240 | 1989
251. Ida Applebroog.
Chronic Hollow. 1989.
Painting

1 9 8 9 | 241
252. Peggy Ahwesh.
Martina's Playhouse.
1989. Film

opposite:
253. Shiro Kuramata.
Miss Blanche Chair. 1989.
Design

overleaf:
254. Edward Ruscha.
That Is Right and Other
Similarities. 1989. Prints
1 9 8 9 | 243
 TAVflS

RUNT

244 | 19 89
1 9 8 9 | 245
255. Jose Leonilson.
To MakeYour Soul Closeto Me.
1989. Drawing

256. Sadie Benning.

Me and Rubyfruit. 1989.
Video
257. Marc Newson.
Orgone Chaise Longue.
1989. Design

1 9 8 9 | 247
 258. Joan Jonas.
Volcano Saga. 1989. Video

opposite:
259. Giuseppe Penone.
Thirty-Three Herbs. 1989.
Prints

248 | 19 8 9
19 89 | 249
 260. Gundula Schulze.
Dresden. 1989. Photograph

261. Martin Parr.

Midsummer Madness,
ConservativeParty Social
Event. 1986-89.
Photograph

250 | 1989
262. Steina Vasulka.
In the Landof the ElevatorGirls.
1989. Video

19 8 9 251
SUPERIOR A8S0

263. Robert Gober.

Cat Litter. 1989. Sculpture

opposite:
264. Thomas Schiitte.
Untitled. 1989. Drawings
1 9 8 9 | 253
 265. Tadao Ando.
Church of the Light,
Ibaraki, Osaka,Japan.
1984-89. Architectural print

266. Tadao Ando.

Church of the Light,
Ibaraki, Osaka,Japan.
1984-89. Architectural drawing

267. Tadao Ando.

Church of the Light,
Ibaraki, Osaka,Japan.
1984-89. Architectural model

opposite:
268. James Lee Byars.
The Table of Perfect. 1989.
Sculpture

254 | 1989
 269. Steven Holl.
NexusWorld Kashii,
Fukuoka,Japan. 1989.
Architectural drawing

opposite:
270. James Turrell.
First Light, Series C.
1989-90. Prints

256 | 1 9 8 9
1990 | 257
271. Joel Shapiro.
Untitled. 1989-90.
Sculpture

opposite:
272. Steven Holl.
"Edge of a City"
Parallax Towers,
NewYork. Project,
1990. Architectural
model
1 9 9 0 | 259
 A1 \

INBA(
BA(
IN
RIVI
260 19 90
273. Christopher Wool.
Untitled. 1990. Painting

opposite:
274. Martin Kippenberger.
Martin, Stand in the Corner
and Be Ashamed of Yourself.
1990. Sculpture
262 | 19 90
1 EU a7t

275. John Barnard.

Formula1 RacingCar641/2.
1990. Design

1 9 9 0 | 263
276. Gary Hill.
Inasmuch As It Is
Always Already Taking
Place. 1990. Video
installation

277. General Idea.

AIDS projects. 1988-90.
Prints

Gewinnen
und helfen

V,el« »»•!

opposite:
278. Lari Pittman.
Counting to Welcome
One's Defrosting. 1990.
Drawing

264 | 19 9 0
19 90 | 265
opposite:
279. Akira Kurosawa.
Dreams.1990. Film

right:
280. Brice Marden.
Cold Mountain Series,
Zen Study 1 (Early State).
1990. Print

281. Brice Marden.

Cold Mountain Series,
Zen Study 3 (Early State).
1990. Print

1990 | 267
282. Thomas Struth.
Pantheon, Rome.1990.
Photograph

268 | 1 9 9 0
I J

283. Thomas Struth.

South Lake Apartments 3,
Chicago. 1990. Photograph

284. Thomas Struth.

South Lake Apartments 4,
Chicago. 1990. Photograph

1990 | 269
 285. Arata Isozaki.
City in the Air: "Ruin of
Hiroshima." Project, 1990.
Architectural print

286. Arata Isozaki.

City in the Air: "Incubation
Process." Project, 1990.
Architectural print

270 | 19 90
1 9 9 0 | 271
opposite:
287. David Hammons.
African-American
Flag.
1990.Fabricobject
right:
288. David Hammons.
HighFatutin'.1990.Sculpture

1990 | 273
276 | 1990
292. Kiki Smith.
A Man. 1990. Drawing

293. Kiki Smith.

Untitled. 1987-90.
Sculpture

19 90 | 277
 Looks like day
or breaking point
It looks like
somebody ready
to go out

to defy something
somewhere
throw up a
cloud of
dust
Smokescreen
The red of my lust
The green of your sweater
The cool blue of
night coming on
Any path will do

, St - % Sc

Cluster in tongue
drives me mad
after all
I say "upstreperous"
I say "Avenue du Clichy"
I want to say Concorde
Stop Here Now

0 f f -?

294. Elizabeth Murray.

Her Story by Anne Waldman.
1990. Illustrated book

opposite:
295. Elizabeth Murray.
Dis Pair. 1989-90. Painting

278 19 90
1990 | 279
296. Mike Kelley.
Untitled. 1990.
Sculpture
 -

297. John Cage.

Wild Edible Drawing No. 8.
1990. Drawing

282 | 19 90
 cw4>

iI
t
a
o
4 V'
0 Ufkl
t I i
4 ¥ t * *
4k i
*
§ ® 4
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T 4 ?'

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V Y
3, Mw *

<§>1
92
*
t
f#2%) I, 4
ta fx v-f^-
"K* A
O
»r' T^ -HK ,

298. Bruce Conner.

INKBLOTDRAWING.
1990.
Drawing

1990 | 283
299. Office for Metropolitan
Architecture. Palm Bay Seafront
Hotel and Convention Center,
Florida. Project, 1990.
Architectural model
 PAJLlf fP
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300. Felix Gonzalez-Torres.

"Untitled" (Death by Gun). 1990.
Prints
 301. Agnieszka Holland.
Europa Europa. 1990. Film

302. Zhang Yimou and Yang

Fengliang. Ju Dou. 1990. Film

286 | 1 9 9 0
303. Jim Nutt.
Drawing for Fret.
1990. Drawing

304. Stephen Frears.

The Grifters. 1990. Film

1990 | 287
 ; I* Li:?.
"-
1 | 'J ''i's'

®
1
r •*&plfe
SJ'J' '"'A . p%' H-

305. Neil Winokur.

Glassof Water. 1990.
Photograph

opposite:
306. Chris Killip.
Untitled. 1990.
Photograph

288 | 19 90
1 9 9 0 | 289
 307. Francis Ford Coppola.
The Godfather, Part III. 1990.
Film

308. Martin Scorsese.

GoodFellas.1990. Film

opposite:
309. Toshiyuki Kita.
The Multilingual Chair.
1991. Design

290 | 1990
1991 | 291
292 | 19 9 1
 .JSSI?'

!5g
IrSSS- ,

Jggfl
g§g*$M,

opposite:
310. Annette Messager.
My Vows. 1988-91.
Installation

right:
311. Peter Eisenman.
Alteka Tower,Tokyo. Project,
1991. Architectural model

312. John O'Reilly.

War Series #34: PFCUSMC
Killed in Action, Gilbert
Islands, 1943, Age 23.
1991. Photographic collage

19 9 1 293
313. Boris Mihailov.
Untitled from the series
U Zemli (On the Ground),
1991. Photograph

314. Boris Mihailov.

Untitled from the series
U Zemli (On the Ground).
1991. Photograph

315. Boris Mihailov.

Untitled from the series
U Zemli (On the Ground).
1991. Photograph

294 I 199 1
316. Shimon Attie.
Almstadtstrasse 43,
Berlin, 1991 (1930).
1991. Photograph

317.Julie Dash.
Daughters of the Dust.
1991. Film

199 1 | 295
 318. Toyo Ito.
Shimosuma Municipal
Museum,Shomosuma-machi,
Nagano Prefecture, Japan.
1991. Architectural model

296 | 199 1

_J !
319. WarrenSonbert.
Short Fuse. 1991. Film

19 9 1 | 297
320. Ernie Gehr.
Side/Walk/Shuttle.
1991. Film

298 | 199 1
321. Annette Lemieux.
Stolen Faces.1991. Print

322. Oliver Stone.

JFK. 1991. Film

19 9 1 | 299
323. TomDixon.
S-Chair.1991. Design
opposite:
324. Dieter Appelt.
The Field. 1991.
Photographs

300 [ 19 9 1
302 | 199 1
opposite:
325. Jean-Michel Othoniel.
The Forbidden. 1991. Print

above:
326. Vito Acconci.
Adjustable Wall Bra.
1990-91. Sculpture

19 9 1 | 303
327. Felix Gonzalez-Torres.
"Untitled" (Perfect Lovers). 1991.
Sculpture

328. Felix Gonzalez-Torres.

"Untitled" (Supreme Majority).
1991. Sculpture

opposite:
329. Felix Gonzalez-Torres.
"Untitled"(Placebo). 1991.
Installation

304 | 199 1
19 9 1 | 305
 I BEDRYSSCHftDE
!
i6oWtianWrt

opposite:
330. Felix Gonzalez-Torres.
"Untitled."1991. Installation
above:
331. Tejo Remy. "You Can't
Lay DownYour Memory" Chest
of Drawers. 1991. Design

199 1 307
332. Enzo Mari.
Flores Box. 1991.
Design

333. Abelardo Morell.

Light Bulb. 1991.
Photograph

308 i 199 1
334. Zaha M. Hadid.
HongKongPeakCompetition,
HongKong.1991.
Architecturaldrawing

199 1 | 309
 HOWIT FEELS-TO BE
COLOREH 1IE HOWIT
FEELS r'0-l?ILt0L0UE!B
nwnowft m

335. Glenn Ligon.

Untitled(Howit feels to
be colored me. . . Doubled).
1991. Drawing

310 | 1991
 One day this kid will get larger. One day this kid will ty and information will compel! him to commit sui
come to know something that causes a sensation cide or submit to danger in hopes of being murdered
equivalent to the separation of the earth from or submit to silence and invisibility. Or one
its axis. One day this kid will reach a point day this kid will talk. When he begins to
where he senses a division that isn't talk, men who develop a fear of this
mathematical. One day this kid will kid will attempt to silence him with
feel something stir in his heart and strangling, fists, prison, suffocation,
throat and mouth. One day this kid will rape, intimidation, drugging, ropes,
find something in his mind and body guns, laws, menace, roving gangs,
and soul that makes him hungry. One bottles, knives, religion, decapitation,
day this kid will do something that and immolation by fire. Doctors will pro
causes men who wear the uniforms of nounce this kid curable as if his brain
priests and rabbis, men who inhabit cer were a virus. This kid will lose his consti
tain stone buildings, to call for his death. tutional rights against the government's in
One day politicians will enact legislation vasion of his privacy. This kid will be
against this kid. One day families will faced with electro-shock, drugs, and con
give false information to their chil ditioning therapies in laboratories
dren and each child will pass tended by psychologists and re
that information down gen- search scientists. He will be
erationally to their families subject to loss of home, civ
and that information will be il rights, jobs, and all con
designed to make exis ceivable freedoms. All this
tence intolerable for this will begin to happen in one
kid. One day this kid will or two years when he dis
begin to experience all covers he desires to place
this activity in his envi his naked body on the na
ronment and that activi- ked body of another boy.
; © l*<

336. David Wojnarowicz.

Untitled.1990-91.Print
337. Allen Ruppersberg.
Remainders:Novel, Sculpture,
Film. 1991. Installation
 FILLINGIN 50.

UNDER THUP13.

1CARRT
THEBOTTOM
NEV4S

HADITKENFAIRJO
NKKttMl OUTLINE
AGAHTAfl«D
(OftEOMTlOR

338. Raymond Pettibon.

No Title (Filling In So ... ).
1991. Drawing

339. Raymond Pettibon.

No Title (Under My Thumb).
1991. Drawing

opposite:
340. Christopher Wool.
Untitled. 1991. Drawing
1991 | 313
314 | 199 1
opposite:
41. Frank Gehry.
CrossCheckArmchair.
1991. Design

above:
342. Brice Marden.
Rain. 1991. Drawing

1991 | 315
 343. Robert Gober.
Untitled. 1992. Sculpture

344. Robert Gober.

Untitled. 1991. Sculpture

316 | 1 9 9 2
345. Robert Gober.
Untitled. 1992. Photograph

346. Robert Gober.

Newspaper.1992. Multiple

19 9 2 | 317
347. Cindy Sherman.
Untitled #250. 1992.
Photograph

318 | 19 9 2
348. Janine Antoni.
Gnaw. 1992. Installation

19 9 2 | 319
 THITIHHIT'

349. Paul McCarthy.

Sketchbook "Heidi."
1992. Illustrated book

320 | 19 9 2
350. Paul McCarthy and Mike Kelley.
Heidi.1992. Video

19 9 2 | 321
*

'.V.VAV.Vm.V^
LV.VAVii.h •• i
 351. Roy Lichtenstein.
Interior with Mobile. 1992.
Painting

352. Christopher Connell.

PepeChair. 1992. Design

1• • • • 'uA'A'
 VRAJ16 RAAR DC CRATIS FESTIVflLKRANT: 10 7^354 32 02

324 | 19 9 2
opposite:
353. Ben Faydherbe.
Festival in the Hague
(Wout de Vringer).
1992. Poster

right:
354. Ingo Maurer.
Lucellino Wall Lamp.
1992. Design

19 9 2 | 325
 355. Guillermo Kuitca.
Untitled. 1992. Painting

opposite:
356. Willie Cole.
Domestic I.D., IV.
1992. Print

326 | 1 9 9 2
 an sane

SUN S£F\rf\ HfMVilUToN BEACH

SUN SERrA

PROCTOR.SlUCX SUN B£Aft"|

e-ENES^L ELECTRIC.

ST£A0r\-O-mflT|(^
PROCTOR 51LER OENERftL EEECtRlc,

1992
 V -

357. Arata Isozaki.

Convention Hall, Nara, Japan.
1992. Architectural drawing

328 | 19 9 2
358. RichardSerra.
Intersection II. 1992.
Sculpture

19 9 2 |329
 W'Mi^J

\/-v~ S^Sfetfr*
k' '• 3' •f."'^y^rr ''t p : ;•«H?'
;- ; ' •
"Y'
;1 • ;" '' >,:V/ - *

"/ , /•' •'- ,

359. Peter Campus.
' • • v;w;v,v.
Burning. 1992.
:'
^
v
l,n '. /./• • / .:*-• /-.:£• /',•/'- y -X- r-.t U'f. .>i?Vc" .- .#y*' *:*?> /••• <V^ -W »*3i *" •.;•».-
>v„ .*- • '"«• v ,'./ /./• y Photograph

360. Rudolf Bonvie.

Imaginary Picture I.
1992. Photograph

330 | 1 9 9 2
361. Santiago Calatrava. AlamiUo Bridge
and Cartuga Viaduct, Seville, Spain.
1987-92. Architectural model

362. Santiago Calatrava. Alamillo Bridge

and Cartuga Viaduct, Seville, Spain.
1987-92. Architectural drawing

19 9 2 |331
 363. Jose Leonilson.
I Am Your Man. 1992.
Drawing

364. Louise Bourgeois.

Ste Sebastienne. 1992. Print

opposite:
365. Rody Graumans.
85 LampsLighting Fixture.
1992. Design

332 | 1992
HMD

19 9 2 |333
366. Christopher Bucklow.
14,000 Solar Images; 1:23 P.M.,
13th June 1992. 1992. Photograph

367. Terence Davies.

The Long Day Closes.1992.
Film

334 | 199 2
 jss c age
4i ooai:
iumm
4 o ififfl

368. Sigmar Polke.

The Goat Wagon. 1992.
Painting

1992
369. Philip-Lorca diCorcia.
Marilyn; 28 years old. Las Vegas,
Nevada; $30. 1990-92.
Photograph

opposite:
370. Juan Sanchez.
For don Pedro. 1992. Print

371. Raymond Pettibon.

No Title (The Sketch Is).
1992. Drawing

372. Rosemarie Trockel.

Untitled. 1992. Drawing

336 19 9 2
 Themen n at iomniMiTiT m,
ANDA HOAtyV/ORLD OFEXTORT/ON
ANDOFTTUfEF/ED/ UffEMNCE
// ua/-
VE/LEP\\HTH
A mLEGEmi.

19 9 2 |337
373. Mark Steinmetz.
Knoxville. 1992. Photograph

374. Gabriel Orozco.

Maria, Maria, Maria. 1992.
Drawing
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19 9 2 |339
375. Donald T. Chadwick
and William Stumpf.
Aeron Office Chair. 1992.
Design
 .Jft »J»

-Ron.

El HOC

El 600 SCO!® LEVEL

376. Neil M. Denari.

Prototype Architecture School,
Wilshire Boulevard, Los Angeles,
California. Project, 1992.
Architectural drawing

19 9 2 | 341
 CorelU Pola Negri St. Anselm •

• ToretU

Rip Torn Becte Davis' chael Caine

Roger Moore
George Best
Bo Derek
Louis V.
Thomas TalUs Des Walker Katherine Hepbt St. Francis
VByrd
Cery Grant
^VPalestrlr St. Gregory
J. S. Bach Grace KeUyN
St. Helena Fra FlUppo
Scheldt Audrey Hepburr SeanConnery • Uppl *
Fillppino
Burt Lancaster Uppl* du Barry i
X Bob Hope Louis IX
y [Yeltsin. Michael Faraday Peter Shlltc v\\. woo<|
John Logle Balrd > VJ*W
Zwlngli . Robert Stephenson . Jane Fonda '
George Stephenson .
Paul Gascoigr
'Damascus Gerard Hoff nungi Vic Reeves
Gordon Banks Flanagan
Francis Chichester
Marie Curie*
Bobby Charttc
\ Mel Brooks
Bartolomeu Dias
Henry Ford horHeyerdahl^^
^^EricSykes* S delCano >Jr

Aibertc Cabral *
Pythagoras Magnus
Victor Ernest Shackleton
Emmanuel I
St. John of the Cross
j Raleigh
Peter Sellers
Randolph
Deng
Louis Pasteur | Xiaoping
Geoff Glna
Lollobrigida UuShaoChl.
^Wang
Tz'eHsl Pu-Yii

Olivier
St. Thaddeus Oliver
Reed*
^ZhangWelguo
*«*. JohnSham
X^.yHsueh-Uang
St. Michael
Captain Arthur V-V-Sia-kan
Tensing Newton Gagarin Armstrong Cook Schopenhac

Morecambe
& Ernie Wise ^

Michelangelo Les Dawson

Francis Dr Kingdom

Key to symbols
Lee-Curtis
Philosophers . Roald Amundsen
Bronzino
Jean Harlow^
Jean Simmons Jr
<VascodaGama Vivien Leigh
Footballer
*Cher Jr

Angelica
; public holidays

:." v

as*

377. Simon Patterson.

The Great Bear. 1992.
Print

opposite:
378. Chris Burden.
Medusa'sHead. 1989-92.
Sculpture

342 | 199 2
 379. Clint Eastwood.
Unforgiven.1992.Film

380. Clint Eastwood.

A PerfectWorld.1993.Film

opposite:
381. Reiko Sudo.
JellyfishFabric.1993.
Design

344 | 19 9 3
19 9 3 | 345
382. Helen Chadwick.
Number 11 from the series
Bad Blooms. 1992-93.
Photograph

346 | 19 9 3
383. Chris Marker.
The Last Bolshevik
(Le Tombeaud'Alexandre).
1993. Video

384. Zacharias Kunuk.

Saputi. 1993. Video

19 9 3 | 347
385. Anselm Kiefer.
Grane.1980-93.Print
opposite:
386. Glenn Ligon.
Runaways.1993.Prints
 RAM AWAY, Glenn, a black male,
RAM AWAY, Glenn. Medium height,
?, 5T very short hair cut, nearly
completely shaved, stocky build, 155-105 5"3I", male. Closely-cut hair,
almost shaved. Mild looking, with oval
lbs., medium complexion (not "light
skinned," not "dark skinned," slightly shaped, black-rimmed glasses that are
orange). Wearing laded blue jeans, short somewhat conservative. Thinly-striped
sleeve button-down 50-s style shirt, nice black-and-white short-sleeved T-shirt, blue
glasses (small, oval shaped), 110 socks. Very jeans. Silver watch and African-looking
articulate, seemingly well-educated, does bracelet on arm. His face is somewhat
m»t look at you straight in the eye when wider on bottom near the jaw. Full-lipped,
talking to you. He's socially very adept, lie's black. Very warm and sincere, mild-
yet, paradoxically, he's somewhat of mannered and laughs often.
a loner.

"f* jt bjl>~
—3 IjL ~iijr—

RAM
has
AWAY, a man named
alnmsf
Glenn. He
no hair. He has cat-eye
Ran away,
i p»n - lie's a shortish hrnail-shiinldrred
G Ie n i

glasses, medium-dark skin, cute eyebrows. black man, pretty dark-skinned, with
He's wearing black shorts, black shoes and glasses. Hind of stocky, lends to look down
a short sleeve plaid shirt. He has a really and turn in when he walks. Real short
cool Timex silver watch with a silver band. hair, almost none. Clothes non-descripl.
He's sort of short, a little hunky, though something button-down and plaid, maybe,
you might not notice it with his shirt and shorts and sandals. Wide lower face
untucked. He talks sort of out of the side of and narrow upper face. Mice teeth.
his mouth and looks at you sideways.
Sometimes he has a loud laugh, and
lately I've noticed he refers to himself
as "mother."

"fa H—^ "Ik

19 9 3 | 349
 mm

mm
KiMMW
ifmmW

387. Rosemarie Trockel.

WhatIt Is Liketo Be What
YouAre Not. 1993. Prints
388. Brice Marden.
Vine. 1992-93. Painting

19 9 3 | 351
389. Herzog &de Meuron
Architects. Facadepanel from
the RicolaEuropeFactoryand
Storage Building.1993.
Architecturalfragment
390. Herzog & de Meuron
Architects. RicolaEurope
Factoryand Storage Building.
1993. Architecturalmodel

352 | 1993
391. Ellsworth Kelly.
Red-OrangePanel with
Curve. 1993. Painting
392. Roni Horn.
How Dickinson Stayed
Home. 1993. Installation

354 I 199 3
393. RobertTherrien.
NoTitle. 1993. Sculpture

19 9 3 |355
 394. Derek Jarman.
Blue. 1993. Film

opposite:
395. Fernando Campana
and Humberto Campana.
Vermelha Chair. 1993. Design

356 | 1993
19 9 3 | 357
396. Antonio Citterio
and Glen Oliver Low.
Mobil Container System.
1993. Design

397. Jean Nouvel.

Cartier Foundation for
Contemporary Art. 1992-93.
Architectural drawing
398. Rachel Whiteread.
Untitled(Room).1993.
Sculpture
 an 18«h c*:xv.'rys;Y ume oSawajebhg-cah

irf -me oe/rnuX /sfuri&e/r

veofg'3» AstV
Id cherry trees elimbed into a cherry tree. and threw bunches
ud noil fl" of themes down to the girls. whv thm r d
column
the trees
bronze or Stone
cherry-stones through the branches
ket of cherries Seeing one of the girls holding out her apron and
,in w the Mrd>
r"" irivllc J" "
tl li mg her head, I took such good aim that I dropped
a punch into her bosom." Why are , H nof
, thought How gladly would l throw them there too!''

cf
«« iw jcan-Jocqucs
fl the famous
The oaten flute.
Rousseau,
'idyll
Confessions
of the cherrj
Fora
5
sympathetic
Renato
arc.
Poggfoli,

D
i;:;:*»t a
,t
;o
er t( °*'v ciov

:5 **-c cd
at I K ' tfl : Ut
r vv«
e
o hav . 8 , „

:
h
°"
Pur
nibin. ks a cl|

th:
'onp i ar I , a
that n have ,
sh
«n _ eat , Se
,eed
er 4nd M a «ay
'
rne
e
bghty ° fo h . a na

«'«
'set
do :
6ski£?
^ up a

n> ;itakes
*\y and
cat
>v Seen th D ' ' h
Dk
"b thund ^ It a

y
n|
« not ° tt strlk
" d0vvn straw h ° tUmble

A modelof order
"tonarchs.. .. Uses of
fret in a space
filled with doubt

399. Ian Hamilton Finlay.

Artist's book and cards. 1986-93.
Prints

360 | 1 9 9 3
400. Martin Scorsese.
The Age of Innocence.
1993. Film

401. Ximena Cuevas.

BleedingHeart. 1993.
Video

19 9 3 | 361
362 | 19 9 3
 403. RirkritTiravanija.
Untitled(apron and Thai
pork sausage). 1993.
Multiple
404. CherylDonegan.
Head. 1993. Video

364 | 19 9 3
405. Jos van der Meulen.
Paper Bags Wastebaskets.
1993. Design

19 9 3 | 365
 (Srnnd ;

406. Nam June Paik.

Untitled. 1993. Videoinstallation

366 | 199 3
407. Hal Hartley.
Amateur.1994. Film
408. Quentin Tarantino.
Pulp Fiction.1994. Film

1 9 9 4 | 367
409. Lorna Simpson.
Wigs(Portfolio). 1994.
Prints

368 | 19 94
 I "V

if

410. Renzo Piano.

Kansai International
Airport, Osaka,Japan.
1988-94.
Architectural model

411. Takeshi Ishiguro.

Rice Salt-and-Pepper Shakers.
1994. Design

370 19 9 4
 . ntvn ...
-fi "rfi .tons m"

< /f rt>,

412. Kim Jones.

Untitled. 1991-94.
rAr- ' Drawing

1 9 9 4 | 371
413. Andreas Gursky.
Shatin. 1994. Photograph
opposite:
414. Mona Hatoum.
Silence. 1994. Sculpture

above:
415. Teiji Furuhashi.
Lovers. 1994.
Video installation

1 9 9 4 | 375
416. Bill Viola. Stations.
1994. Videoinstallation
 abuse of po\ner
COMES AS
|SE NO SURPB
H

raise boys and girls

THE SAME WAY

417. Jenny Holzer.

Truisms projects. 1980-94.
Multiples

378 | 19 94
418. Robert Gober.
Untitled. 1993-94.
Sculpture
419. Ann Hamilton.
Seam. 1994. Video
installation

380 | 19 9 4
1 9 9 4 | 381
 « i^ h

CD=
O" ^
o2
.uhmimhJLmui '

421. Michael Schmidt.

U-ni-ty (Ein-heit).
1991-94. Photographs

382 | 19 94

mBwmw
25 ml LSsung
422. Thomas Roma.
Untitled from the series
ComeSunday. 1991-94.
Photograph

423. Richard Artschwager.

Five untitled works. 1994.
Sculptures

384 | 19 94
 fc"y '}

425. CyTwombly.
The Four Seasons:Autumn,
Winter, Spring, and Summer.
1993-94. Paintings

386 19 9 4
 tri-t

'^4
-jraT' ^ „ -s^f" ' i
| >^V,f ,;
V *lt 5 V-x^r Ii/
W^\'~""\
v>\,£'.A
cJ^'>-^
l ' V (A/ _<
.'A " V* «tlM /<:,..

1 9 9 4 | 387
VV

* .

426. Philippe Starck.

Jim Nature Portable Television.
1994. Design
427. Rineke Dijkstra.
Tia, Amsterdam, the Netherlands,
14 November 1994. Tia, Amsterdam,
the Netherlands, 23 June 1994.
1994. Photographs

1994 | 389
428. Marlene Dumas.
Chlorosis.1994. Drawings
1 9 9 4 | 391
429. Hella Jongerius.
Soft Vase. 1994. Design

opposite:
430. James Turrell.
A Frontal Passage.1994.
Installation

392 | 1994
 431. Jeff Scher.
Garden of Regrets.
1994. Film

432. Barbara Kruger.

Public projects and illustrated
book. 1986-94. Prints

;,| tlliXK* •** '

didn't ««ctu«iHy i

1/ hate
1

394 | 19 94
433. Louise Bourgeois.
Fenelon. 1994. Drawing

434. Bob Evans.

Tan Delta Force Fin.
1994. Design

1 9 9 4 | 395
396 | 1994
opposite:
435. Roni Horn.
Island-Pooling Waters.
1994. Illustrated book
437. Alberto Meda.
436. Jean Nouvel. Long FrameChaise Longue.
LessTable. 1994. Design 1994. Design

1 9 9 4 | 397
 438. Glenn Ligon.
White #19. 1994. Painting

opposite:
439. Carrie Mae Weems.
You Becamea Scientific
Profile from the series From
Here I Saw What Happened
and I Cried. 1995.
Photograph

398 19 94
 YOU BECAME A
SCIENTIFIC PROFILE

1 9 9 5 | 399
440. Louise Bourgeois.
Odea ma mere. 1995.
Illustrated book

HHI

400 | 1 9 9 5
441. Marcel Wanders.
Knotted Chair. 1995. Design
 442. Tom Friedman.
Untitled. 1995. Sculpture

opposite:
443. Peter Halley.
Exploding Cell Wallpaper.
1995. Prints

overleaf:
444. Toba Khedoori.
Untitled (Doors). 1995.
Drawing

402 | 199 5
404 | 19 9 5
B8 8 8 I I 8 I B8 8 8 8 8

1 9 9 5 | 405
406 | 19 9 5
 WWW
l-'f «R 'ill
forfM ;t I
Loi iipllSi
w mww
r' mm iwmw$ fi
...•••..
•..

opposite:
445. Ellen Gallagher.
Oh! Susanna. 1995. Painting

above:
446. Toyo Ito.
MediathequeProject,
Sendai, Japan. 1995.
Architecturalmodel

1 9 9 5 | 407
'
3 I I

408 I 19 9 5
'X ®

opposite:
447. KCHO(Alexis
LeyvaMachado).
In the Eyesof History.
1992-95. Drawing
left:
448. Doris Salcedo.
Untitled. 1995. Sculpture

1 9 9 5 | 409
449. Laurie Anderson.
Puppet Motel.1995. CD-ROM

450. Joel Sanders.

KyleResidence,Houston,Texas.
Project, 1991-95. Architecturalmodel

410 | 1995
451. Herzog &de Meuron
Architects. Signal Box,Basel,
Switzerland.1988-95.
Architecturalmodel

1 9 9 5 | 411
452. Sigmar Polke.
Bulletproof Vacation
magazine. 1995. Prints

opposite:
453. Chuck Close.
Dorothea. 1995.
Painting
1 9 9 5 | 413
454. MatthewBarney.
Cremaster4. 1994-95. Video

414 | 19 9 5
 aoislcllong

r aussfullung . gab nicht nor das bauhaus {siehc i

housbuhne

buhoushof

jgust 19.30 ohr bauhausbiihne

august 10 uhr theater auf dor bauhausbuhne

31. august bis 4. septcr

455. cyan.
Foundation Bauhaus
Dessau,Events,
JuLy-August 1995
(Event Stiftung Bauhaus
Dessau,Jul-Aug 1995).
1995. Poster

1 9 9 5 | 415
456. Sheron Rupp.
Untitled (Bayside,
Ontario, Canada).
1995. Photograph

416 | 1995
 \ : >

457. Stan Douglas.

Historic set for "Der Sandman'
at DOKFILMStudios, Potsdam,
Babeisburg, December1994.
1995. Photograph
458. Jasper Johns.
Untitled. 1992-95. Painting

418 | 19 9 5
459. Inoue Pleats Co., Ltd.
Wrinkle P. 1995. Design

460. Luc Tuymans.

A Flemish Intellectual. 1995.
Drawing

420 | 199 5
461. Luc Tuymans.
The Heritage IV. 1996.
Painting

1 9 9 6 | 421
462. Joel Coen.
Fargo.1996. Film
463. John Sayles.
LoneStar. 1996. Film

422 | 1996
 Ah ! Grain-de-Bc ftils aussl pers~
pioct que lu «j beau. il y a longtcmps que
urai* dfji dcvinf en notre chef
Quant i Grain-de-Bcauif, il eontinuii a
subtile Zobfida. Hi Croyants, Maroun AJ-Rachid
aprcs le festin el dc multiple) eopulat Glafar
Barmfcide. dans It troisifme Itporte-g)

Abott-Nowa*. poeie (implement I

paroles. Graln-de-Beautf
limiie de la surprise cl dt la confusion, ct
dement II demanda : • Mais, 6 grand Abou-
Nowis, que) eat le mfrile qui
ctj blenfails de la part du khalifat? a Abou-

ajouia : « C est le plus grand des

(I je le
idere que I'on n'sckilt jamais
Puis, commt le soir tombaii, it fit^BOKicr les flambeau* de la lallt Je reception
joli visage I
posail a organiser le concert, comme^iutes les nulla, quand on frappa a la pone
tapis. Alors Graln-dc-Bcautf
fut pas pcu surpris de voir les quairc dcrvichea de la pre
qu" Allah
prive jamais des bienfans de ta gfnfrosllf

Grain- Jc-Beaute de
chanter quetque chose
, Graln-de-Beautf,
i faire danser les pictres et a. suspendre au fond du eiel le vol d
apportfes le petit Abyssln SaJtm
du joli csclavc; puis, apris avoir iti
fpouse Zobfidi, il sc dirigea
diwan et, dfposant le coffrct

(sut lul la benediction et la pain!) acceptait

m qui les hii offraient. Ton csclavc

de cettc attention dc I adolescentct lui du

ujourd'hui je
charge le grand synd
Baghdad
pirc Schamscddin des einqt
richcsses? Voyons! Comblen de jours faut-H le mondc, le khalifat fcri
Caire dt Baghdad? * II rfpondit
rame-cinq jours. » Abou-Nowas demanda
rfpondit : « Quarantc-cinq
Grain-dc-Bcautf
rfgullircment aupret
pouvail plus se passer

Grain-dc-Bcautf
Par Allah! joie a ft t si grande q
n ai guerc cu It temps dc rfflf chir a
alors. d dervichc qui I'a fcritc?
d-oii vienr-il? , Abou-Novvas rfpondit

*5/0

envoycr le ptix? t Ct il rfpondit : « Certes. tu as raison. 6 n

trcsse ! Mais aujourd'hui je suis rtfduit a l obligation d'avoir de I
Immfdlatemcnt. . Lorsquellc entendit ccs paroles, ellc saisit I:
d'ftoffc et la lui lan(a a la poitrinc et lul dlt : < Vous ftcs tc
« maudite corporation, s Puis elk
ia It dos pour s'en alle
n kmc qui icrt (llait i

la grtcc d

boutique
face de
dans la boutique rOettc piice U'etoffc
(st pout

papier pour que je puisse

piece d'ft

dans It souk, oii j

Et mfmc,
un horn mage, elle t fpondit : « Qu'Allah

la couronne de ma lite ! Alt ! puisse Allah dalgncr

souhait ! s Alors je hii rfpondis : < O ma maltresse. acceptc done cette

€|Py ! | ! c. piece de sole ! Et d'aJlleurs elle ne sera pas la seule ! Mais, je t 'en prie,
accorde-mol cette faveur d admlrer un Instant ton visage qui m est
cachf I » Alors elle relcva I'ftoffe If gf re qui lui voilait le bas de la

.1',; figure et qui ne lalssait apercevoir que les yeu*.

« El je vis cc visage de bfnfdlction, et ce scul coup d'oeil suffit I

d'Yr y
mc Jeter dans un trouble extrfmc. i river I'amour en mon cccur et k
m'cnlevcr la raison. Mais elle se Mta d'sbaisser son voile, prit Tftoffc
et mc dit : . 0 mon maltre, que ton absence ne dure pas trop long-

464. Jose Maria Sicilia.

Twovolumes of Le Livre
G*. ,.s
des mille nuits et une nuit.
1996. Illustrated books .......

1 9 9 6 ! 423

Ji- J
465. Flex Development B.V.
CableTurtle. 1996. Design
466. Mona Hatoum.
RubberMat. 1996. Multiple

424 | 199 6
467. John Armleder.
Gog.1996.Prints
468. David Hammons.
Out of Bounds.1995-96.
Drawing

opposite:
469. KCHO(Alexis Leyva
Machado).The Infinite
ColumnI. 1996. Sculpture

426 | 19 9 6
430 | 199 6
opposite:
471. Gabriel Orozco.
Light Through Leaves.
1996. Print

472. Chris Ofili.

North Wales. 1996. 473. Jeanne Dunning.
Prints Untitled. 1996. Photograph

1 9 9 6 | 431
474. Thomas Demand.
Room.1996.Photograph

432 | 1 9 9 6
475. Andrea Zittel.
A-Z EscapeVehicle: Customized
by Andrea Zittel. 1996.
Sculpture

476. Werner Aisslinger.

Juli Armchair. 1996. Design

1 9 9 6 | 433
477. Franz West.
Spoonerism. 1996.
Installation

478. A1Pacino.
Looking for Richard.
1996. Film

434 | 19 9 6
 '"jS•''•

479. Toray Industries, Inc.

Encircling Fishing Net. 1996.
Design

1 9 9 6 | 435
480. Ken Jacobs.
DisorientExpress.
1996. Film
481. Igor Moukhin.
Moscow,May9, 1996.
1996. Photograph

3MHBM
notjmmw'

436 | 199 6
482. Kiki Smith.
Constellations.1996.
Print

1 9 9 6 | 437
 thinking her deed done she soundly settles into
a deep meditationon the nature of her New World.

483. Raymond Pettibon.

Untitled (Justly Felt and
Brilliantly Said). 1996.
Illustrated book

484. Kara Walker.

Freedom:A Fable or A
Curious Interpretation of
the Wit of a Negressin
Troubled Times. 1997.
Illustrated book

opposite:
485. Arthur Omar.
The Last Mermaid.
1997. Video

486. Kristin Lucas.

Host. 1997.Video

overleaf:
487. Vik Muniz.
Massfrom the series
Pictures of Chocolate.
1997. Photographs

438 19 9 7
440 | 19 9 7
1 9 9 7 | 441
 488. Fred Tomaselli.
Bird Blast. 1997. Painting

opposite:
489. Chuck Close.
Self-Portrait. 1997. Painting

442 | 19 9 7
444 | 19 9 7
opposite:
490. Arnulf Rainer.
Blue Barn. 1997. Print

491. Arnulf Rainer.

Greens. 1997. Print
492. Arnulf Rainer.
BlueNest. 1997.Print
493. Arnulf Rainer.
RedMan.1997. Print

494. Martin Puryear.

Untitled. 1997.Sculpture

19 9 7 | 445
 495. Stan Brakhage.
Commingled Containers.
1997. Film

opposite:
496. Reiko Sudo.
Origami Pleat Scarf.
1997. Design

446 | 199 7
 497. Reiko Sudo.
Shutter. 1997. Design

opposite:
498. Daniel Libeskind.
Berlin Museumwith Jewish
Museum, Berlin, 1989-97.
Architectural model

448 | 19 9 7
 tlM.fr, f, Hujrr a utile fruiter tf tte umtJeif tint.

ms^msammm

500. Kiki Smith.

Endocrinology.1997.
Illustrated book

452 | 19 9 7
501. William Kentridge.
UbuTellsthe Truth. 1996-97.
Prints

1 9 9 7 | 453
 ^.99.^9': ....V'. '. -.. ;,' ••?';;•

W'9.9 '

Wmk-

AND
502. John Baldessari.
Goya Series: And. 1997.
Painting

opposite:
503. Rachel Whiteread.
Untitled(Paperbacks).
1997.Installation

454 | 19 9 7
iteread.
icks).
 i-M
STu"lADo"sZTUKI AMERYKANSKIE STUDIA DO SZTUKI AMERYKANSKIEJ

GALER1A
F0KSA1
WARSZAWA
FOKSAL
1 . iu. - ju. ii . 1996 Davi
III RllflMI Mi 1
New York

y#
n 1!£«!>
Salerie
Gisela
Capitain
FranzWest
« "jiyiy
P! n
7.11.bis13.12.1997
ComeignMab
_ -
1

504. FranzWest.
Hangarounds. 1997.
Drawing (two-sided)

456 | 1 9 9 7
505. Lewis Klahr.
Pony Glass. 1997. Animated film

1 9 9 7 | 457
506. Sue Williams.
Mom's Foot Blue and
Orange. 1997. Painting

opposite:
507. Yukinori Yanagi.
Wandering Position. 1997.
Prints
1 9 9 7 | 459
460 | 1 9 9 7
opposite:
508. Zhang Peili.
Eating. 1997.
Video installation

right:
509. David Williams.
Thirteen. 1997. Film

510. Pipilotti Rist.

EverIs Over All. 1997.
Video installation
 I T TIME F 0 R LUNCH." I T T E N T H I R! T Y !" Y O U SEE THEM THROUGH If P I

A P E R T H E GUY N E A R E S T PUTS T H E P A P E R DOWN AND P O 1N T S , "RIGHT II lid N 0

HOP. THEY SELL MEATBALL S A N D W I C H E T H E BEST 1N THE W 0 R L D . " « II I
E A N I N G 0 N T H E SIDE 0 F THE CAR G 0 0 N WOULD YOU GO A N 0 G E T ME T III/0! T H
: A C K A T H I M CUMON PARTNER TWO THE G U Y GETS OUT OF THE C A R , YOU Hi S I «
I 0 0 R S L A M S . H E TARTS READING T H E P A P E R AGAIN AND S A Y S , " 1 THANK YOU, WIT
LEADING THE PAPER, THEN HE PULL U P OUT OF THE W 1N D O W
V I H I S F I N H E G E T S 0 U OF T H E CAR AND IS IN THE PLACE SAYING C0 U
i N 0 N E UNA W H E A T T H A N K YOU S H E ' S S E R V 1 N G HIM. T H ROUGH T H E W I N 0 0 0W
I M A L L AND THE G I A !: s M A K E S I T QUIET. T H R E E MAYBE FOUR GUYS PILE OUT A 111 I 1 A
0 0 K S LIKE A ROAD K ILL. • R 0 AD KILL " S EE THAT CAR PULL UP?" "THA N I HI V
0 W W 0 WW!" RUSTLES A R 0 U N D T H E PAPERS S LIKE HE CAN' T WAIT TO GET IN AND G Hit E S
I 0 U L D EAT T HE WINN E T SI 0 U T 0 F A DEAD RHINO' S ARSE. I SHOULD OF GOT YO 1|S E T
1 N T 0 T HE H U G E SAND W I CI H AND S QUINTS ACROSS "WHAT CAR?" THE GUY POINTS A CI S S I
HE S T R A W AT THE S A M E T I M E . AC ROSS THE WAY THREE MAYBE FOUR PEOPLE PILE OUT (M* SB
N T 0 T H E A R , T H E CAR A C ROSS THE ROAD - JUST A S FAST HE'S PULLING S 0 M E I I 6 01
I T H E R GUY, BUT HE SHOUTS, GOOD AMN IT!" HE'S
E ' S UP NOT IN T H CAR ANYMORE. H 0 L D I NU HE G
N G R E A L L Y FAST, "GODDAMNI T ! " H E SWERVES ROUND "FRE E Z E . . . FREEZE!" RUNNING F 0 RW* " S '
! 0 M E S BACK FROM THE CAR, "I GOT HIM... I GOT HIM!" THEN YOU SEE ONE OF THE I* I J
i 0 T A WEIRD P L A S T ICY FACE, LIKE A MASK. HE HOLDS SOMETHING OUT IN FRONT OF HIM, A11[ IT
HE OTHERS, JUST BEFORE HE GETS INTO THE CAR, S LAMS HIS FIST DOWN ON THE GUN I if ' I N I
IN 'FRIEEEZE..." A 6 A I N AND THE CAR SQUEALS OFF HE'S THERE HOLDING THE GUN DEAD STRAIGII FF
THEN THREE OR FOUR MORE, BUT ALL YOU SEE IS THEM GOING INTO THE BOOT OF THE CAR AS 11»WE R I
INE OF THEM SHATTERS THE BACK WINDSCREEN. IT ALL FALLS OUT THEN ALL YOU CAN SEE IS THE 8 I III' "LI
Y UNEVEN. SUDOENLY HIS CAR IS RIGHT. BEHIND. HE FIRES „OUT
- THE LITTLE JAGS „ OF FIRE, HOLDINlflE 61
°6<
S I EL L S , "COME ON... GET IN! GET IN!" FROM INSIDE. "JESUS CHRIST..." THE OTHER GUV INTERRUPTS
THERE, CAN'T SEE EITHER OF THEM BECAUSE OF THE LIGHT ON THE WINDSCREEN, THE CAR SCREECHES DM S H E
ROM THE GLARE, BUT YOU SEE HIM BEND FORWARDS AND REALLY TUG ON THE GEAR, THE ENGINE REVS, YOU SEE!' WHO
MVE BACK OF THE WING MIRROR AND THE SHAKY HORIZON. THEN IT'S GONE. YOU SEE THE RED CAR FROM B EHIM « ».
TAR'S BLARING RED FROM THE BRAKE LIGHTS. IT'S AS IF THE CAR S GOING TO TURN AND FOR A MOMENT YOU C* » '
SKIDS, SQUEALS ROUND THE CORNER, THE RIGHT HAND CORNER, HARD, AND YOU SEE THE WHOLE SIDE OF IT. IT'S S L I Dll »
OUDER. FOR A MOMENT THE OTHER CAR FLASHES IN FRONT THEN YOU SEE IT FROM THE FRONT, NOT ALL OF IT AND IT."' \ ' 1J
THE METAL CRASHING AND THE SOUND OF THE ENGINES REVVING. IT'S AS IF THE CARS ARE STUCK TOGETHER. THEY'RE l' » *0 0
SONNET OF THE RED CAR AND THE GLARE ON THE WINDSCREEN'S BLINDING. THEY'RE CAREERING ROUND THE CORNER - STUCK " t
THE FRONT NOW. THE RED CAR KEEPS BASHING INTO THE WHITE ONE, BUT IT DOESN'T REALLY MAKE ANY IMPACT - THEY BOTH "Iff
/*
1
®
0 T'S AS IF THEY'RE NOT EVEN MOVING, OTHER THAN FOR THE INCREDIBLE SOUND. THE RED ONE NOSES AHEAD A BIT. THEN YOU SEE Til '
THE RED ONE BASHES IN AND I THINK IT GETS LIFTED OFF THE ROAD. THEN SUDDENLY THE ROADS RIGHT THERE IN BETWEEN THEM. T /"BE
TAME FROM. FOR AN INSTANT IT'S THE ONLY THING, JUST SPINNING THROUGH THE SUNLIGHT. THEN ALL YOU SEE'S HIS FACE THROU I" • « J
"
1 NSIDE HIS MOUTH, "GO!" THEN YOU SEE THE DRIVER, FROM THROUGH THE OPEN WINDOW AT THE SIDE TAKING THE WHEEL, REALLY LEANI 0 >
HE A FUCKIN BRAKE... I AM GOING!" THE ROAD STREAKS PAST BEHIND HIS PROFILE THEN EVERYTHING SWERVES ROUND IN FRONT, KIR! /*"?.
IAIDDLE OF THE ROAD. THE BACK TIRES SLING ACROSS THE TARMAC FIRST AND A HUGE CLOUD OF EXHAUST SMOKE'S BELCHING OUT BEHIN «
T, THEN IT'S NOWHERE NEAR. THE DARK REAR VIEW MIRROR'S DEAD IN THE MIDDLE OF THE WINDSCREEN. SOMEONE FROM THE BACK
» SEE THE OTHER GUY IN THE BACK SEAT TURNED TO THE ROAD BEHIND, THEN HE SWINGS ROUND AND YELLS, "I DON'T FUCKING BELIEVE I HII;/ ' H '
SEE THE TWO OF THEM IN THE FRONT, FROM THROUGH THE PASSENGER WINDOW, SWAYING WITH THE CAR. THEIR FACES ARE SO BIG. T HE C '» * !
SENGER SHOUTS, "I THINK WERE L 0 6 S I N G THEM!" SOUNDS BREATHLESS AND MUTED. THEIR EXPRESSIONS ARE STRANGE, SO TOTALLY FIXED, THE OH
LOAD FOR A SPLIT SECOND. THEN THEY COME STRAIGHT INTO A JUNCTION. HE YANKS THE WHEEL HARD, THE CAR SKIDS ONTO THE OTHER ,}'««
."
1 TARMAC. YOU CAN SEE A FULL ROW OF HEADLI6HTS BEHIND THEM, ALL THE CARS QUEUED UP WAITING TO GO. THEY'RE RIGHT OVER ON TII *
J
B
«
n
vA THEY'RE SQUEALING LIKE MAD. THEN JUST BEFORE THEY HIT THE CENTRAL RESERVATION THE CAR STOPS GLIDING AND SPURTS F 0 R W A R 0 8!. M , l
MIDDLE, AND THE ROAD IN FRONT DARK FROM THE SHADOW OF THE TREES ON THE CENTRAL RESERVATION. THEN THEY'RE ON TOP OF THE SH!"• * « I
CAR BECAUSE OF HIS WHITE GLOVES. YOU CAN SEE THE STEERING WHEEL AND THE HUNCHED SHOULDERS, AND THE DRIVERS GLOVES THE BACK'S .
'1 FLED WAY. THEN RIGHT IN FRONT OF THEM IS THE STRIPY BARRIER, THE CAR SWERVES AGAIN. THE BRAKES SQUEAL, THEN THE SAME GUY YELLS, V.'
™
1 LET IT GO." THE STRIPES GET CLOSER AND CLOSER, THEN THEY BANG RIGHT THROUGH. THEN YOU JUST SEE ANOTHER CAR COMING AT THEM. IT'S W
U THE RED CAR. THEN YOU SEE THE PASSENGERS SCREAMING FACE. "OHHH S H H H HI T. " AND HIS HAND CLENCHED ON THE DASHBOARD. THE DRIVER ECIV»"S
,1"' TIGHT ANGLE AND LEAVINGLONG ARCHING TIRE MARKS BEHIND. THE lllfHEELS LOOK LIKE: THEY'RE GOING THE OTHER WAY. LIKE THEY'RE GOING TO COME J 'HE
«i
C
n
T
A FACE AGAIN. BLURRING ACROSS THE WINDSCREEN - HE'S SAYING SOMETHING, CAN'T HEAR ANYTHING BUT THE ROAR OF tAe ENGINES. THEN YOU JUST„, c t HEN THI
NG SO HIGrf. THEN RIGHT IN FRONT IT'S JUST THE SHINY RED CAR, THE BACK OF IT, THE LIGHT ON AND THE B L A RING EN GI NE. T HE PILLARS STROBE 'J8, &M (tCLIS E Y
THE CAR, WEAVING THROUGHALL THE OTHERS. IT MUST BE A CAR PARK OR SOMETHING. ITS GOINGSLEFT THEN IT CHANGES AND PULLS OFF TO THE RIGHT. THE SOUND OF THE ENGINE I Y
SRABBIlk THE WHEEL, HE'S SUCKING IN His LIPS, REALLY CONCENTRATING. THEN ALL THE CARS BLUR IN FRONT. THERE'S JUST ONE BIG WHITE ONE RIGHT IN FRONT,IP| TEARIII
V,k
K YOU SEE THEY'RE SHINING EVEN MORE. IT'S GONE STROBING BEHIND THE OTHERS, YOU SEE IT AGAIN IN GLIMPSES. THE OTHER CAR'S EVEN CLOSER AND THE DRIVER ' t blur RI
TRESCENDOS THEN REVS EVEN HIGHER. YOU SEE ALL THE OTHER CARS. ALL DIFFERENt COLOURS BLINKING PAST, THEN THE RED CAR'S VISIBLE AGAIN - JUST THE SHINY SIDEI'AORRL
"LOSE AND SO BRIGHT IT'S THE ONLY THING YOU CAN SEE. THE DRIVERS FACE IS REALLY CLOSE. LOOKING STRAIGHT OUT ONTO THE ROAD. HIS FACE IS REALLY CLOSE. THEIU» M*
ILONG THE TARMAC, LOW ON ONE SIDE, BUT IT HASN'T EVEN SLOWED DOWN. THE SCRAPING SOUfllO ON THE TARMAC'S DEEPER AND DEEPER - THEN IT TURNS ACROSS THE ROAD |«t SLO
MASKED FOR A MOMENT BY THE BIG TrfEE IN THE FOREGROUND, DRAGGING THE FIRE ALONG UNDERNEATH. THEN IT PULLS STILL AND THE WHOLE BODY JERKS ON THE. CHASSII.^ "IYER
IUDDY. ." THEN HE'S GRABBING THE PETROL PUMP^ POINTING IT AT THE GUY. SAYING, COAXING, "TRY IT MAN... JUST TRY IT..." IlLL THREE OF THEM ARE OUT PUSHING AROUND. I! « "TO
\ GUY LEANING OVER HIS CAR, IT'S BRIGHT YELLOlJV.HE'S SPONGING DOWN tHE WINl/SCREEN. SiOMEONEYELLS, "I'VE GOT IT MAN... I'VE GOT IT." THE GUY LOOKS UP BEMUSED BjOUT iw V
f ovER
1
U !S HIM ONTO THE BONNET. SL/fM. HE YELLS, "GET AVllAY FROM THE CAR... MOVE IT... GET IN..." ITS ALL SHAKING AROUND - A LOT. THEY CLIMB INTO THE CAR, STILL HOLDING THEHJ to
[l;( THEDOORSLAMS SHUT. IN A FLASH YOU SEE THF GUY LEAN FORWARDSFROM THE BACK SEAT. THE OTHERSARE SHOUTING. "LETS GO... LETS GET MOVING..." HE HQLDS UP HIS HAND AND*f INTHEF
!UN OUT OF THE WINDOW. YOU HEAR THE INCREDIBLEFORCEOF THE PETROL SQUIRTINGOUT OF THE END OF THE PUMP... THEfaYOU SEE IT, CATCHINGTHE LIGHT, THEN YOU SEE IT SQUIRTING THEup HEF
T. TRYING TO GET TO THE GUY. BUT THE SPRAY KEEPSCOMING AT HIM. THEN YOU SEE THE BLOKEHOLDINGTHE PUMP PALE FROM ALL THE SPRAY AND LIGHT IN FhONT OF HIM. HE LOOKSROUND, ILclQsfr a

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B EHIND'HERE ' S ANOTHER RED CAR IN FRONT, LOOKS LIKE THEY'RE GOING TO BASH
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if Till!.""" 1 1IB SHAKES AND IS A SMEllR FOR A M 0 M E N T T H E N S U 0 0 E N LY Y 0 0
the nil' 18 A SMEARY GREEN SCOOTING THROUGH THE 0 R I V E R Si W INIE10 W T H E P A S -
S
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r HFRROlSIDEWAYS LIKE IT'S ICE - THE SOUND OF THE WHEELS SCREAMING ON THE
HER
'DEON T«i|l S OF THE ROAD, AND YOU CAN HEAR H IIM S L AiM Nl I N G T HIE B R A K E S,
IDS llll" CAN SEE IS THE PALE BONNET AND THE REAR VIEW MIRROR RIGHT IN THE
THE 8HlfW- YOU SEE THE OTHER CAR FROM INSIDE. YOU CAN ONLY TELL IT'S THEIR
CK S 111""A, "PUNCH IT! PUNCH LT, ! PUNCH IT!" BUT IT COMES OUT THAT SAME MUF
LIS "II*.".."! PUNCH IT! PUNCH IT!'I" THE WINDSCREEN'S ALL SMEARED UP WITH SHIT,
IT'^ jii'PULLI HIG"o'iTt" OF THE "LAYBY, IT'S NOT COMING AT THE WHITE CAR, IT'S COMING
EB ECHDli "*H SHIIIIT" BUT YOU CAN'T HEAR HIM. THEN THE CAR IN FRONT'S SWERVING A
In me IFlJ'EY'RE SLIDING ALL OVER THE ROAD. IT BLURS. THEN YOU SEE THE PASSENGERS
Et r ITCH 1 WORDS " ON THE LEFT..." BUT YOb CAN'T HEAR MORE THE ENGINE S SCREAM
in FRO N!'HEN THEY GO PAST A TRUCK AND IT'S ALL BLURRY AND BLACK. YOU SEE THE BACK OF
furinF'SI'IOSE YOU CAN HEAR THE GEARS UP AND UP, THEN YOU CAN SEE THE DRIVER OF THE GREY CAR
TONL I?!'rl'.il.M ORE. S KJM M! N_G
THEN . PA_S.T. J HE, ENGJNt STRAINS. r FROM .BEHIND TJU OTHJRM.Rj
TEARINGAWAY FROM THE ROAD TO LOOK FOR IT, THEY'RE JUST ABOUT LEVEL. HIS ENGINE
KE
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V
?v miE burring" Along" To u" HEaViTs' ENGINE Re"a'lLY' REVVi NG"I T Yo'w " FOR AN~INS"t ANf IT'S SO
" ?L% SOmany SPARKS IT'S LIKE THERE'S A FIREWORK GOING OFF UNbER THE CAR. IT SCRAPES
FHEROAO.PSLOWLY.THE fGoNT OF THE CA_RFLIPS HIGH AS IT ROLLS OVER THE «AMP INTO A GARAGE,
rE
1
'0 MeJMU MPS o'uT ANd" GRABs" "PUSHEs" SOMECIN Et UT '6 F f HIE"WW SHOUTING "B ACK 0 f|
inniun II TO MAKF WHAT'S GOING ON LOT S OF THING S AT ONCE... EVERYTHING S BLURRY. THERE b
USED,Tlj LIE. OFTHE_GUYS RUNS II P BIEHINb , GUN,IN EACH HA[N0 ANDi AND SLAMS THE GUY FORI
THE ST0MACH WI TH THe" BUTT 0F HH „RJFl E.

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Sri

511. Fiona Banner.

Break Point. 1998. Print

1 9 98 463
 512. Konstantin Greic.
May Day Lamp. 1998. Design

513. Julia Loktev.

Moment of Impact. 1998.
Video

opposite:
514. Paul Winkler.
Rotation. 1998. Film

464 | 19 98
1 9 9 8 | 465
515. CharlesLong.
Internalized Page Project.
1997-98. Prints

466 | 19 9 8
517. Richard Serra.
Torqued Ellipse IV. 1998.
Sculpture

overleaf:interior view
470 | 1 9 9 8
518. Anish Kapoor.
Woundsand Absent Objects.
1998. Prints

1 9 9 8 | 471
 519. TerryWinters.
GraphicPrimitives.1998.
Prints
opposite:
520. Gerhard Richter.
128Detailsfroma Picture
(Halifax1978).1998.Prints

472 | 1998
 llssSSl
p ' ffp^ff
- ; - :r a

m Jm'$k
»£?> -r~ 'fSaEfiX-:.***£

'?'' 1&8E
/w,~>v-'S«
U< V

1 9 9 8 | 473
 mchakerraneata
6

521.GabrielOrozco.
I LoveMyJob. 1998.
Photograph
opposite:
522.ChristianBoltanski.
FavoriteObjects.1998.Prints

474 | 19 9 8
 523. Jia Zhang Ke.
XiaoWu.1998. Film

476 | 19 98
524. Matthew Barney.
C5: Elbocsatas.1998.
Drawing

525. Kara Walker.

African/American.
1998. Print

19 9 8 477
526. Luc Tuymans.
The Blue Oak. 1998.
Drawing

527. John Madden.

Shakespearein Love.
1998. Film

478 | 19 98
 j&l^CiCAL MANIKJ
f -Arti «' tt* ****

528. Robert Rauschenberg.

BookwormsHarvest. 1998. Painting

1 9 9 8 | 479
529. Chris Ofili.
Untitled. 1998. Drawings

530. Enrique Chagoya.

The Return of the Macrobiotic
Cannibal. 1998. Illustrated book

opposite:
531. Lisa Yuskavage.
Asspickerand Socialclimber.
1996-98. Prints

532. Elizabeth Peyton.

Bosie. 1998. Print
1 9 9 8 | 481
533. Philippe Starck.
La Marie Folding Chair.
1998. Design

482 | 199 8
534. Ralph Schmerberg.
"Los Toros," a commercial
for Nike footwear. 1998. Film

535. MarikoMori.
Star Doll.1998. Multiple

19 98 483
1 9 9 8 | 485
w^m.
 **
*
—V^-*vv£',y i • .:
i "C' •. Vw .
i-V* . t/ , ?'Vi --r ••<-
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V •

v.»*,
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; f -, :
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Vo '« •r r

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w • % **•. V-w
r.

opposite:
538. William Kentridge.
Seated Couple (Back to Back).
1998. Drawing

539. William Kentridge.

Untitled (drawing for Stereoscope).
1998-99. Drawing

above:
540. Phil Solomon.
Twilight PsalmII: Walking
Distance. 1999. Film

199 9 487
 lllllllllllllll
iiiii:
llllllllllllllll

s
ill

1111 I (III
MM lllllllllllllll
I I illi
A mill mi^ iMsaius lllllllllllllll 1111

541. Julian Opie.

Imagine You Are Driving;
Cars?;Imagine You Are
Walking; Cityscape?;Gary,
Popstar; Landscape?
1998-99. Prints

488 19 99
542. Andreas Gursky.
Toys"51" Us. 1999.
Photograph

1 9 9 9 | 489
490 | 19 9 9
opposite:
543. Barbara Bloom.
A Birthday Party for Everything,
1999. Multiple

544. Jean-Marie Straub

and Daniele Huillet.
Sicilia! 1999. Film

above:
545. Carroll Dunham.
Ship. 1979-99. Painting

1 9 9 9 | 491
 5036-23

SteakandKidney
Ethambutol
Hydrochloride
Cornedbeef
200
200 mg Amiodarone Hydrochloride Fr.P.
Tablets
400mg
Damiena Hirst
28 Tablets

100Tablets PIE

Cornish
100mg/5ml Salad tablets
Pasty Lamivudine
RifampicinB.P.
Each coated tablet contains
lamivudine 150mg

To be taken by mouth

Peas [chips]
60 tablets

HirstDamien
546. Damien Hirst.
The Last Supper. 100ml Syrup
1999. Prints

492 | 199 9
 Damien& Hirst

Chicken
Concentrated Oral Solution
Morphine Sulphate
Beans TM

Chips,.
20mg/ml 400 micrograms
Each 1ml contains Morphine
Sulphate BP 20mg

120ml
112Chips
Damien
Hirst

30tab ets
* i

Pyrimethamine
TabletsBP
tablets8mg
Each tablet contains
8mg ondansetron
as ondansetron hydrochloride dihydrate
Also contains lactose and maize starch

10tablets
HirstDamien

HirstDamien

19 9 9 493
opposite:
547. E. V. Day.
Anatomy of Hugh Hefner's
Private Jet (1-5). 1999.
Prints

right:
548. Chris Ofili.
Prince amongst Thieves.
1999. Painting
 w&r
.V-' ;
m-*>',

549. Richard Serra.

Out of Round XII. 1999.
Drawing

opposite:
550. Richard Serra.
Switch. 1999. Sculpture

496 | 199 9
1 9 9 9 | 497
551. Shahzia Sikander
Anchor.1999.Print
552. Jean-Luc Godard.
The Old Place. 2000. Video

2 000 | 499
553. Faith Hubley.
WitchMadness. 2000.Film

500 | 2 000
 %

554. Matthew Barney.

The Cabinet of Baby Fay La Foe.
2000. Sculpture

2000 501
 Essays

504 Sets and Situations | M. DarsieAlexander

507 Mind over Matter in ContemporaryDesign | Paola Antonelli

510 Lest We Regret: Reflectionsin Film| MaryLea Bandy

513 Home and Away | Fereshteh Daftari

516 One Thing After Another: Serial Print Projects | Judith B. Flecker

520 Aspects of DocumentaryPhotography in Europe Since 1980 | Susan Kismaric

524 The Vanishing Monument and the Archive of Memory| RoxanaMarcoci

527 RelentlesslyTransparent | Terence Riley

530 We're No Angels: Recent Violent Movies| Joshua Siegel

534 Size Specific | Lilian Tone

537 Wednesday's Child | KirkVarnedoe

I 503
Sets and Situations M. Darsie Alexander

view through a window Workingin this state of "retreat" from the outside
opens to an idyllic out world has enabled them to exert a high level of
door scene (plate 225). control over all aspects of their endeavor, down to
Butterflies are gently minute details. Whereas a photographer who takes
perched on budding pictures in the street traditionally depends on his
flowers. Carnations, or her instantaneous reaction to external stimuli,
daffodils, and roses those who prefer a studio or staged outdoor envi
grow from the earth, ronment engage in a fundamentally more studied
bathed in the bright and introspective process. Images do not present
light of the sun. Intense colors abound—blues, themselves through a rapid succession of encoun
yellows, reds, lavenders—offset by the soft gauzy ters, but are born of a premeditated, elaborate,
fabric of a curtain. A second space is implied, a and imaginative process of execution.
domestic world demarcated by glass, curtain, and A shift toward what has been termed "fabri
latticework. Movingback and forth between the cated photography"or "the photography of inven
scene and the window, the eye detects a disturb tion" came about gradually, the result of a growing
ing incongruity: the window is at ground level, awareness of photography's fictionalizing attri
restricting the field of vision to a worm's-eye per butes. During the 1960s, artists and critics began
spective. Once this peculiar orientation is regis to challenge many of the prevailing assumptions
tered, strange details previously overlooked about photography's objectivity, examining how
become pronounced: a rotten piece of fruit over the meaning of an image can be shaped by many
taken by insects and a mammoth beetle crawling factors, from the politics of its maker to the con
along a dead branch. Suddenly the whole scene text of its presentation. As thinking about photog
becomes oversaturated: too many butterflies, too raphy began to change, so too did the profiles of
much color, too many flowers. Nature is all wrong. its practitioners. Artists with no conventional
At the same time, it is exactly right. The artist training in photography adapted the medium to
who made this photograph, GregoryCrewdson, their own ends, combining it with other practices
carefully prepared every detail of this image, from such as painting, printmaking, and performance.
the placement of the flowers to the strategically Photography also served a practical purpose in the
fallen tree, and assembled the entire scene on a recording of impermanent installations and perfor
platform in his studio. Crewdsonbelongs to a gen mances. Manyartists began to devise their own
eration of artists who have forsaken the tradition Happenings for the camera, appearing as principal
of photographing the world of everyday events in players in private dramas. These simultaneous
order to fashion their own alternate realities, cre developments—a growing critical awareness of
ating sets and situations exclusivelyfor the cam photography's complex relationship to truth and
era. Using their skills as fabricators, sculptors, fiction, and its new role in documenting artist-
lighting technicians, and set designers, these generated performance theater and tableaux-
artists build discrete self-contained environments, established the essential groundwork for what
which range from the eerily familiar to the utterly would become a move toward staged photography
fantastical, and sometimes encompass both. in the 1970s and 1980s.

504 | Essays
 James Caseberebegan to create simple card claims its artifice on impact, the contrived nature
board cutouts for the camera in the 1970s, piecing of these images is often more difficult to detect.
together modest architectural elements for black- Pictures that appear to provide a transparent view
and-white tableaux. Though inspired by familiar into the real world may show only subtle signs
structures and environments, Casebere's photog of staging—perhaps lighting that is unnatural,
raphs present a deliberately alienating space in or an action that seems posed. Such images con
which themes of suppressed violence lurk just stitute a kind of puzzle that the viewer is left to
beneath the surface. One set may evoke a child sort out, measuring those elements that seem
hood classroom as remembered in a nightmare, plausible against those that are not exactly "right."
another may suggest a scene from a forgotten This game is further complicated when the pho
movie. His 1985 image of an overturned covered tographer adopts a style or look—such as that of a
wagon shot through with arrows (plate 138), for snapshot, for example—that suggests the picture
example, recalls a still from a Western in which was made spontaneously.
Native Americansattack a migrating frontier To the extent that a staged photograph
family and leave the scene in ruins. The disturbing involves a human presence and storyline, it also
reference to recurring myths of Native American requires acting. No artist has evinced talent in
brutality that underlies this image is amplified this realm more successfullythan CindySherman.
by Casebere's stark execution. Built of plaster In 1977, she began an experiment using costumes,
and Styrofoamand haunted by a surreal light, his props, and wigs as a means of casting herself in a
generic model is frightening and severe. Harsh variety of movie-inspired roles: femme fatale, run
contrasts of black and white accent and disguise away, sex kitten, working girl. The resulting series
form, and the closely cropped compositional field of sixty-nine photographs, the Untitled Film Stills,
is shallow and suffocating. was ground-breaking in its interrogation of cliches
For Laurie Simmons,the invention of artificial of femininity, and established Sherman as a mas
worlds is not merely an artistic activity but one ter of disguise who could imitate both the look of
that has its roots in childhood games and play actual film stills and the heroine types they de
things. Dolls, dollhouses, and toy furniture are the picted (plates 2, 3, 4, 5, 6). In the Centerfolds
mass-produced props of her still-life tableaux, and series (1981) Sherman expanded her repertoire,
the nexus of a universe centered on femininity this time playing teenage girls caught in a moment
and domesticity. Fascinated by how dolls serve to of extreme vulnerability—hanging by the tele
reinforce sexual stereotypes and shape girls' fan phone, daydreaming in bed, or simply waiting for
tasies about their future lives as mothers, wives, someone unknown or for something unforeseen to
and homemakers, Simmons orients her work on happen. A girl lies dreamily on a linoleum floor in
the plastic female figurine as the object of girl Untitled #96, grasping a newspaper clipping in her
hood fixation. Her imagery is by turns bleak, hand as if it holds the key to some future happi
nostalgic, and humorous. In the late 1980s she ness (plate 41). Her farawaylook belies a secret
embarked on the Walkingand Lyingseries, in fantasy, perhaps of escape or romance. Whilethe
which isolated accouterments—a handbag or per girl's attitude is one of tranquillity and repose, the
fume bottle, for example—function as the upper image itself is replete with visual tensions: the
body for a (typically)female lower half (plate 242). tight cropping of the frame (which serves to
These amalgamated figures are photographed entrap the figure), the bright clash of orange
head-on and in dramatic stage lighting, as if on hues, and the threatening position of the camera
display as a nightclub act. (and viewer) bearing down on the subject from
Since the 1980s, staged photography has above. As the object of the camera and the eye
increasingly involved narrative situations in which behind it, Sherman creates a deliberately unset
human subjects engage in a form of role-playing, tling composition that captures with equal force
acting out particular attitudes and emotions themes of vulnerability and aggression.
according to the artist's designs. But unlike the The pictures of Philip-LorcadiCorciaare a
work of an artist such as Casebere, which pro blend of fact and fiction. Created in everyday

Alexander 505
settings—on the street or indoors—they are dra which an alternate world may be perceived, and
matized excerpts of daily life, touching on univer in that way provides an opportunity, however
sal themes of human isolation, boredom, and momentary, for the viewer to glimpse something
uncertainty. Often there is nothing specific "hap mysterious, unfamiliar, or out-of-the-ordinary.
pening" in diCorcia'sphotographs; his subjects It is also a format that offers clues to an implied
(who play themselves) are typically more reflective narrative; in this respect it functions as many
than active. Nevertheless the mood of the work is paintings and film stills do.
highly personal and psychological. In one picture,
a woman looks up as her lover pulls at his pants
in an ambiguous gesture of dressing or disrobing
(plate 62). Is this an awkwardmoment of depar
ture or the beginning of an afternoon tryst? In
another, a heavily made-up transvestite clutches
herself against the backdrop of the city street, as
a young male prospect in high-top sneakers stud
ies her from behind (plate 369). The emotional
force of these pictures resides not only in the
subjects' expressions and interactions (or lack
thereof) but in the theatrical effects the artist
has exploited to intensify the scenes, particularly
through strong contrasts of light and dark. Ex
perienced in commercialphotography and inspired
by the movies, diCorciainflects reality with the
suggestion of fantasy, frequently bestowing his
subjects with an otherworldly aura. His pictures
evoke the veneer of Hollywoodand glossy maga
zines, but they also reflect a deep consideration
of private human struggles, which ultimately form
the center of his narratives.
Whether staged interactions between people
or fabricated setups in the studio, the process of
producing a photograph has become an increas
ingly complicated undertaking. The photogra
pher's role—newly expanded to encompass that
of visionary, director, and master of ceremonies-
is no longer restricted to a position behind the
camera, where an image is generated through a
simple click of the shutter. On the contrary, the
realization of a single idea may involve extensive
measures and a team of professionals, a veritable
movie crew of make-up artists, technicians, set
designers, and prop masters. Yet the question re
mains: Whya photograph and not, say, a film or
installation, as the culmination of these efforts?
Perhaps one explanation is that the still photo
graphic image continues to invite a suspension of
disbelief, even when it is equally a product of fan
tasy and a reflection of reality. A photograph ulti
mately functions as a contained window through

506 | Essays
Mindover Matterin ContemporaryDesign | Paola Antonelli

he best contemporary objects garments one step beyond the previous threshold
express history and contempo set by the Japanese avant-garde, with a sophisti
raneity; manifest physically cated blend of high-tech simplicity and visual rigor
the material culture that gen that, despite its minimal appearance, called for
erated them; speak globally; very steep price tags.
carry memory as well as an Likewise,the apparent modesty of the objects
idea of the future; and spark, by Droog Design, made of recycled parts and using
like great movies, a sense of visibly low technology, was crowned by unexpect
belonging while also carrying edly high prices. Droog Design became the inter
us to places we have never visited. The best con national symbol of a new less-is-more approach
temporary objects express consciousness by show and of a political correctness in design, so dry and
ing the reasons they were made and the process visually spare as to look impoverished—an illusion
that led to their making. Contemporarydesign is supported neither by the manufacturing process
vigorous with experimentation and creativity- nor by the retail prices. Thus a deeply ingrained
optimistic, honest, and aware. character of hypocrisy entered the functional arts
The multifaceted character of contemporary in the early 1990s. Amongthe most renowned
materials calls for an essentially rigorous and con objects from this period in the Museum's collec
scious approach to design. Designers are already tion are Tejo Remy's 1991 "YouCan't Lay Down
responding, spontaneously, to this call, and are Your Memory"Chest of Drawers (plate 331) and
conceiving products for a sophisticated progeny Rody Graumans's 1992 work, 85 LampsLighting
that has learned to recognize patterns of beauty Fixture (plate 365), both accumulations of found
in pragmatic and economic ideas. objects that seemingly use the resources of the
Our perspective on the material world has world without asking the world for any further
changed dramatically during the past twenty effort; and Hella Jongerius's Soft Vase of 1994
years. After the sensory and material overdrive of (plate 429), one of a series of straightforward,
the 1980s, the design world now privileges sim archetypal flower vases made of soft polyurethane.
plicity and originality. This new attitude is exem Towardthe mid-1990s, many signs confirmed
plified by the Dutch collective Droog Design ("dry this minimalist cultural shift toward subtraction.
design") formed in 1993 by curators Renny Rama- At a 1995 design conference, the third in a series
kers and GijsBakker, who had noticed a unique of conferences known as Doors of Perception, or
brand of ingenuity and economy that connected ganized in Amsterdam by the Netherlands Design
several Dutch designers despite their differences Institute on the theme of "matter," Dutch trend
in age and background. Their coherent minimalist forecaster LidewijEdelkoort gave a poignant
aesthetic provided a link with Dutch tradition, as audiovisual presentation of natural fibers, Donald
well as elements for a manifesto. Droog Design Judd-like furniture, recyclable materials, and
made its first appearance at a time when the translucent soap bars. The world, one could assume
material world seemed unable to tolerate redun from her talk, wanted fewer, better, clearer,
dancy. In the fashion world, MiucciaPrada and sounder things, and at any cost. In the same
TomFord were breaking new ground by taking passionate search for cleanliness, Japan was the

I 507
first country to market air by offering whiffs of facturing methods available, designers have man
pure canned oxygen for sale in street-vending aged to discover new formal and functional possi
machines. In May 1997, at a symposium at the San bilities. Japanese textiles, such as Reiko Sudo's
Francisco Museum of Modern Art devoted to the work for Nuno (plates 381, 496, 497) provide a
theme of "icons," the art historian Alexander dramatic example of what technology based on
Nemerovspoke eloquently about a new American materials can do for aesthetics.
icon: bottled noncarbonated water. He had joined Newtechniques are now used to customize,
the chorus to point out an apparent need for a extend, and modify the physical properties of
cleaner, purer lifestyle. materials and to invent new ones. Materials can
After the stylistic impositions of the 1980s, be transformed by engineers and by the designers
the succeeding years have been somewhat similar themselves, and adapted in order to achieve their
to the period that followedWorldWarII, when a design goals. The 1995 exhibition Mutant Materials
fresh injection of previously restricted technolo at The Museumof Modern Art introduced progress
gies and new materials joined with an objective in material technology and culture through the
need for new dwellings and objects to build a tri innovative transformation of materials in product
umphantly modern material culture. Just like the design and function. Accordingto the exhibition,
1950s, these are optimistic times, marked by a adherence to the truth of a material, a tenet of
renewed attention to domestic living and human historical modern design, is no longer an absolute.
mobility, guided by concerns about the environ Materials have become curiously malleable and
ment and by a strong international political con sensitive to a designer's intentions. Ceramics,for
sciousness, and fueled by exuberant progress in example, can now look and act like metal, just as
technological research. In contemporary design, plastics can feel and perform like ceramics or
ethics are as important as aesthetics, and morali glass. A "monastic" wood stool can be surprisingly
ty—evenmoralism—inspires many contemporary soft. A knotted rope can be as sturdy as metal.
objects, fortifies their purpose, and motivates The substances we used to know and recognize
"users" to rid themselves of redundancies. have become the basic ingredients for unexpected
As a consequence, the design landscape has combinations, opening up a new world of possibil
changed during the past twenty years. Furniture ities for designers and manufacturers. No longer
has become sleeker, and less formal and imperti adjuncts in passive roles, materials have been
nent. Accessorieshave become smaller, more transformed into active interpreters of design.
personalized, and easier to use. Technological Instead of being mere tools in the design process,
advances, which allow for many more variations they inform and guide it. The changed character
and degrees of freedom within the same manufac of a material is not merely a function of the quan
turing cycle, assist in this new phenomenon. tity and diversity of the objects it can produce; it
Today,high and low technology can coexist is related to the diversity of its functional proper
peacefully. Advanced materials, such as the ties. Design is energized by an endless search for
aramid fibers of MarcelWanders's 1995 Knotted the perfect balance between means—available
Chair (plate 441)—roughly knotted in a fishnet, materials and techniques—and goals, such as a
then dipped in epoxy resin, and finally frozen in super-light chair, a mass-produced steel floor
the shape of a low chair—can be customized and lamp, or low-cost foldable furniture to be sent
adapted by the designers themselves. Some ad to disaster areas. In this quest, contemporary
vanced materials, like the carbon fiber of Alberto materials have acquired a new importance in
Meda's Light Light Armchair of 1987 (plate 182), that they are often instrumental in the inspira
actually demand manual intervention. Indeed, tion for, and achievement of, superior design and
experimentation at any technological level re manufacturing goals.
quires a hands-on approach to test new materials Lightness, for example, is the theme of many
and techniques that do not yet have a fixed set celebrated contemporary designers, the obsession
of applications. In the process, thanks to the of many researchers in materials technology, and
flexibility and novelty of the materials and manu a feature of almost instant appeal for consumers.

508 | Essays
 It is also widely accepted as an important ecologi with wings, can be gradually turned on and
cal goal for the future: "In a sustainable economy, dimmed by touching with two fingers any metallic
1 the guiding principle is 'the lighter the better.'" part of the lamp, thanks to a sophisticated and
One milestone of enlightened, precocious design innovative wiring system.
in the Museum's collection is the already noted Localtradition is a powerful antidote to mod
Light Light Armchair by Alberto Meda, a successful ernist mannerism. In recent decades, local cultures
design that became a design paradox. When it was have proven to be, for design and architecture
first introduced in 1987,the chair so literally pur alike, the most meaningful way to move beyond
sued the idea of lightness that it sacrificed any modernist style without giving up the salutary
chance of commercialsuccess. The public did not qualities of modern design. Materials and tech
accept the chair, which was made of carbon fiber, niques are the ambassadors, the most visible man
was perfectly sturdy and supportive, but weighed ifestations of local material cultures. Some coun
less than a kilo: its minimal mass made most cus tries, whose material tradition is based on crafts
tomers feel uncomfortable and insecure, and pro manship and whose economy is based on necessi
duction ended after a limited run of fifty samples. ty, like Brazil, are being looked at as new models
Manynew materials are able to embody even for inspiration in architecture and design.
more evanescent and emotional functions than Fernando and Humberto Campana,brothers from
lightness, for example, in MaryAnn Toots Zinsky's Sao Paulo, elaborate on the rigid tubular-steel
Bowl, a work of glass filaments (plate 99) and Tom frame that is the signature of traditional modernist
Dixon's S-Chairof 1991 (plate 323). One of the chairs and add to it traditional colorful cotton
most sublime objects in the Museum's collection ropes to form their very comfortable Vermelha
is Shiro Kuramata's 1989 Miss Blanche Chair Chair of 1993 (plate 395). The available materials
(plate 253). Kuramata's masterpiece, a chair only are used in harmony with their capabilities, accord
in name, is in fact a sculpture, a lyrical exercise ing to what Arthur Pulos calls "the principle of
in contemporary beauty. Its goal and its intended beauty as the natural by-product of functional
2 function, as can be perceived subjectively, is sheer refinement," a timeless principle that has often
emotion, evoked by red silk roses suspended with been used to define quality in design.
in a throne of perfectly translucent acrylic resin.
Kuramata indicated many new directions for
design, employingthe most up-to-date technol
ogies to show how materials and objects can con
sciously and deliberately carry meaning, feeling,
and memory. He contemplated the established
rules of modernist design and filtered them
through a Japanese sensibility. He chose a classic
black-and-white cubic dresser and deformed it
gently on its own axis. He took white bookshelves
formed in a rigid grid and varied the rhythm of
the grid within the piece. By attacking only one
of the variables in the modernist equation instead
of many at a time, he created surprise and enlight
enment. He did this by looking deep into the well
of his own material culture to apply its tenets to
the most enhanced innovations of global technol
notes ogy. In the same fashion, the Germanlighting
1 Dr. G. J. Wijers, [Preface], in designer Ingo Maurer has taken advantage of the
A. Beukers and E. van Hinte, L/gr/rf-
ness (Rotterdam: 010 publishers, excellent technological tradition of his culture to
1998).
2 Arthur J. Pulos, American Design perfect delicate and poetic lamps. The Lucellino
Ethic (Cambridge, Mass.: MIT Press,
1983). WallLamp, 1992 (plate 354), a little angelic bulb
Antonelli 509
 Lest WeRegret:Reflections in Film | Mary Lea Bandy

he T evocation of memory thinking today, it is interesting to consider con

is hardly new in art, but it temporary works that engage—much as the auteur
can appear, especially in film, works have—our hearts and minds in profound
in unexpected ways. Contem ways, rather than merely our senses. This is par
porary independent filmmak ticularly pertinent in revisiting the works of film
ers working in the narrative makers who are obsessed with memory and loss.
tradition have often imbued Though it may seem contradictory, it is these film
their stories with a reflec makers—likeartists in other mediums who probe
tiveness as startling as it is the distant or immediate past—who often evoke
seductive. Their thoughtful films—less ambitious the most absorbing, at times elegiac, homages to
technically than major studio productions, in truth in perception.
terms of special visual effects and multitrack The perception of actuality, with a moral edge,
sound, yet no less so artistically—search the human has long been deemed a worthy goal of filmmak
spirit in intimate ways, pondering the preoccupa ing. In the same sense, creators of films acting
tions or obsessions of their writers and directors. as journalists, have aimed at presenting factual
An independent artist like John Cassavetes, strug truths, even as their works often got those facts
gling to understand emotional ties in LoveStreams, wrong. Film genres established early in the twen
1984 (plate 112), or an eighty-year-old old-master, tieth century internationally included historical
Akira Kurosawa,working on a small scale in Dreams, adaptations, gangster movies, war epics, and
1990 (plate 279), are filmmakers who follow no biographies of famous, or infamous, people.
prescribed route, and adhere to no established More often than not, these films glorified the
school or studio. Their pursuits, instead, expand past in broad strokes, even as they attempted
the notion of the "personal" cinema that has long to critique it.
characterized the individual vision, the poetry, In the last two decades of the twentieth
and the astounding beauty put before us by truly century, filmmakers and commentators saw the
independent filmmakers such as Stan Brakhage. world change several times over, in quick succes
His biomorphic abstractions in color, including sion and in complex ways. They, and we, lacked
the five-minute-long CommingledContainers, 1997 simple threads to tie new developments into neat
(plate 495), or the artistry of Ernie Gehr in his cultural packages. In a period of unprecedented
structuring of perspective and motion above city economic prosperity and worldwide communica
streets in Side/Walk/Shuttle, 1991 (plate 320), are tion, we witnessed deep poverty and illiteracy,
riveting essays in cinematic experimentation. diseases and plagues, terrorism and ethnic cleans
Fromthe 1960s onward, the concept of ing, and ecological devastation. As entranced as
auteurist cinema, which emerged in critical dis we were by penetration into a vastly more complex
course, served as a guide for our recognition of universe than we previously had understood, so
a Cassavetes or a Kurosawa,a consistent voice, too were we horrified, in our earthbound neigh
identifiable in style, approach, or content, regard borhoods, to learn of the abuse and murder of
less of the size and scope of the production. innocent children. Calledinto question, as we
Whether or not this concept still governs our attempted to interpret our new times, were the

510| Essays
influential legacies of Marx, Lenin, Einstein, and Music, as much as cinematographic tonalities,
Freud. Technologicalinnovation threatened to is key to mood and character. Jazz, for example,
substitute itself for ideology,but Utopianvisions is inseparable from Clint Eastwood's sensibility.
of problem solving were countered by a growing In Bz'rd,1988 (plate 212), Eastwood concentrates
sense of victimization. Wewere reminded that with unusual intensity on the familiar theme of an
WorldWarII was still of consequence. artist's self-destruction—in this case the downfall
Faced with so imposing an array of issues, of the saxophonist Charlie Parker, a gifted per
numerous filmmakers pursued personal percep former who revolutionized jazz during the 1940s
tions rather than attempt to mirror current events. but whose drug addiction overruled his efforts to
Those who thought to step back from the complex behave. Forest Whitaker, as Parker, captured the
present, to delve into memory and search under angst of the musician, blowing on his sax to the
standing, opted to work within self-imposedbound soundtrack of Parker's recordings. The film itself
aries: autobiographical musings, nostalgic recall, entered territory thought to be off-limits for a
meditations on violence, and lamentations on ill mainstream filmmaker and amateur musician, but
ness and death. All of these came forth in formats in taking us along on nights in the city in slow
that ranged from the miming of home movies to time, without giving us a pedantic history lesson,
direct sociopolitical exposition. Genre and other it tells us much about Eastwood's abilities to trust
traditional descriptive categories were of little in his instinct and his passions, and to sidestep
use here; what were wondrous were the cinematic easy moralizing.
expressions of passions, fears, and delights in Martin Scorsese daringly interwove text and
worlds closely observed and deeply felt. Some music in his most passionately felt probe for spiri
approaches are reticent, others instinctive, and tual truth, TheLast Temptationof Christ, 1988,
still others cheeky. Some take a distinctly moral adapted from the novel by Nikos Kazantzakis
point of view, others are intentionally ambivalent. (plate 232). As the film reveals the torments of a
The recycling of texts and tales is a constant sensual self-doubting Jesus when he becomes the
source of inspiration, and the complete edition of messenger of God, its sincerity and beauty are
Shakespeare's plays and sonnets gathers no dust enhanced by the provocativemusic of Peter Gabriel.
in the filmmaker's study. In Lookingfor Richard, The last film of an American master surprised
1996 (plate 478), Al Pacino intuited a complex all who had met him decades earlier as the brash
relationship between actor and text as he prepared young director of TheMalteseFalcon, 1941. For
the staging of the play RichardIII, and he queried John Huston's TheDead, 1987 (plate 192), his son
the relevance of Shakespeare for most everyone Tony adapted the short story from TheDubliners
he encountered at the time, in neighborhood and by James Joyce, and his daughter Angelica played
workshop, including contemporary interpreters the gracious wife who laments the lost true love
such as Kevin Kline and Kevin Spacey. The inten of her youth. The finely calibrated atmosphere of
sity of his search and his eagerness to grasp the melancholy, during a holiday dinner set in 1904,
essence of his theater through the particular and the hushed elegance of the performances
rhythms of his daily investigative beat capture the seemed a generous and extraordinary remem
passion that filmmakers bring to their obsessions. brance from a dying artist.
Lookingfor meaning on the West Side of New The sorrows and joys of childhood tugged at
Yorkoffers the restless artist an urban map for a the memory of filmmakers who created some of
personal odyssey. WoodyAllen, that chronicler their most expressive works about their own or
of Manhattan on both sides of town, created his others' youths. A narrative structure of quiet,
homage to a passing West Side culture with Broad gentle rhythms belies the intense preparation
way Danny Rose, 1984 (plate 117), spicing its deli undertaken by the actors who were the protago
catessen hilarity with a melancholy touch, shot in nists of Thirteen, 1997 (plate 509), a Virginia
the self conscious black-and-white cinematogra family led by a devoted mother and her daughter,
phy that he used to great effect in capturing the Nina, whose first year as a teenager finds her
urban scene. restless and confused. FilmmakerDavidWilliams

Bandy | 511
dug deep, through a unique process of rehearsal of seconds of fictional films, newsreels, television
and improvisation, to expose the sense of isolation programs, paintings, and photographs overlaid
and yearning that Nina is unable to articulate. So with carefully chosen words whose letters are
troubling is her struggle with adolescence that she rearranged to suggest multiple meanings, and
must run away from a loving family and friends, in enhanced by his own narrative voice and the
order to come back home and accept that she is music of Beethoven or Bob Dylan. Since 1974
too young to legally drive, let alone own a car. Godardhas created films, such as Sauve qui peut
Similarly,Terence Davies crafted—through the (la vie), 1980 (plate 11), and videos that are
rich, painterly colors of lush cinematography and intended to be discerned as a continuous dis
nuanced blend of family chatter and music on the course. This has been followedby essays of mov
radio—a look back on his own childhood in The ing imagery spanning the twentieth century,
LongDay Closes, 1992 (plate 367), set in Liverpool including The OldPlace, 2000 (plate 552), a
during the mid-1950s. A sensitive eleven-year-old meditation on art in collaboration with Anne-
boy, loved and guarded by his mother and sib Marie Mieville.
lings, cherishes every chance to dream of Holly Another creative partnership, is that of Jean-
wood musicals, and we are transported with him Marie Straub and Daniele Huillet, whose 1999
into his world of magic and memory. sixty-six-minute film Sicilia!closed the millennium
Such films take us through familiar territory on an uncompromising note (plate 544). Adapted
in unexpected ways: Williamsthrough his year from the 1939 novella Conversationsin Sicilyby Elio
long association with his actors, and Davies Vittorini, the narrative offers a dialogue between
through his exquisite selectivity of word and an exile returning to his country after many years
image. In neither film do we miss an explanation and the people he meets on his voyage into the
of a father's absence. A remarkably tough, seem past. Each encounter, especially that with his
ingly almost brutal, rendering of a daughter and mother, is understood as a passage for the man,
her father is Momentof Impact, 1998 (plate 513), yet seemingly buries more than it exposes in
by Julia Loktev. Morestylized than verite, the conversations as harsh as the intense sunlit land
black-and-white cinematography coolly captures scape. Straub and Huillet shot the encounter of
the daily miseries of Lotkev's father, paralyzed child and parent in black and white, as did Loktev,
from an accident, and her mother, who must take to give clarity to toughness and truth, and also
care of every task. Each suffers terribly, and focus to the quiet but unsettling perceptions of
although the mother can articulate her frustra mothers who suffer and endure.
tions, she resents her daughter's intrusions, and Reflection in film achieved no more astonish
those of the camera. The filmmaker's strength fos ing impact than in Blue, 1993 (plate 394), directed
ters our sense of her weakness, for we are left by Derek Jarman. While dying of AIDS,Jarman
wondering what is exploitation, and what is a recorded a monologue in which he talked of his
search for truth and understanding. treatment, set in part against the backdrop of a
The memory film—especially the sort devoted program of church music. All we see on the screen
to making us reflect on the most incomprehensi is a swath of color, a dense, bright, sky-blue that
ble horrors of WorldWarII—was forever changed seems at times to quiver as we listen to the voices.
by Claude Lanzmann's Shoah, 1985 (plate 129), It is not radio, it is not a painting, it does not
which gradually reveals layers of truth through appear to be cinema in any way in which we know
nine hours of interviews, comprising the recollec it, but a more powerfullypersonal voice cannot be
tions of those who endured the Holocaust, as vic readily conceived, nor are we ever the same after
tims or oppressors. experiencing this mighty film.
Jean-Luc Godard, an artist who ceaselessly
layers truths and serves them forth, in films or
videos, as essays, dramas, or meditations on the
past, is among the most personal of all makers
of moving imagery. For Godarda work is a collage

512 | Essays
Home and Away | Fereshteh Daftari

In the last two decades, the escalating imagery of artists from so many different points
interconnections throughout the world of the globe.
have made "globalization" a master Cai Guo-Qiangis a telling example. Born in
concept and a key term. An expanding Quanzhou, in the Fujian province of China, he
market economy and thickening net studied in Shanghai, has exhibited in Asia, Europe,
of communication have touched, and America, Australia, and South Africa, and now
often altered, an exceptionally broad resides in NewYork— where he first showed Bor
range of cultures, traditions, and prac rowingYourEnemy'sArrows(plate 536), a sculp
tices. There is no agreement as to what ture that embodies a metaphor for cross-cultural
this ongoing process may ultimately yield, for bet exchange. The work is built on the skeleton of an
ter or worse. Where some have damned it as a new old fishing boat, excavated near the port where
form of colonization, a kind of transnational domi the artist began his personal journey. Bristling
nance based on an ideology of consumerism, oth with 3,000 arrows designed by the artist, and
ers have hailed the way it weakens oppression by fabricated in his native city, the ship flies the
nation-states and liberates local cultures. Pessi flag of contemporary China, but refers to the
mists see globalization as suppressing differences, nation's deeper history. Historical texts (known
while optimists see it fostering their proliferation. as sanguozhi) recount how General Zhuge Liang,
Wehave seen arguments that the phenomenon is lacking ammunition in the face of a heavily armed
an old one and a new one, a question of Eurocen- enemy, was ordered to procure 100,000 arrows in
trism or American capitalism, antagonism or ten days. The legend recounts that, on a foggy
emancipation. night, the general sent a boat loaded with bales
Contemporaryartists often cross cultural of straw across the river, toward his foes. When
boundaries, and have been implicated in and the enemy had fired volley after volley of arrows
attentive to these changes and debates. Their at this decoy, the general pulled it back, full of a
traffic within the networks of globalization is captured store of fresh ammunition. One subject
multidirectional. Western artists, such as John of the sculpture, then, is how a culture may appro
Cage (plate 297), Francesco Clemente (plates 83, priate and transform foreign intrusions into a
152), WolfgangLaib (plate 197), and Bill Viola defensive strategy.
(plates 142, 416), by immersing themselves in TheInfinite ColumnI (plate 469), made in Cuba
the cultures of the East, have reaffirmed a familiar by the artist KCH0(AlexisLeyvaMachado), also
linkage between modern art's dominant centers takes up the theme of the boat, but navigates in
and formerly peripheral cultures. But other artists, different waters, and points to another aspect of
of non-Western origin, have also created more globalization: migration. KCH0,unlike Cai Guo-
complex and unprecedented hybrids in their phys Qiang, lives in a country whose ties to the world
ical and in their spiritual "residences." Transition market have been severed by a United States
has been the order of the day, shuttling between embargo. Still, he has been featured in numerous
a variety of global terms and an equal mix of local international exhibitions, and his field of refer
identities. It should not be surprising, then, that ence cuts across political boundaries. TheInfinite
vessels of transit, such as boats, recur in the ColumnI is in part a conscious homage—in its

I 513
title, its form, and its artisanal mode of produc the use of, or reference to, the body—a device
tion—to the early modern sculptor Constantin that may reflect what she says is the absence, in
Brancusi, who himself drew constantly on the folk her Palestinian inheritance, of a simplistic mind-
traditions of his native Romaniawhile living in body dichotomy, but one that is also intimately
Paris. Brancusi's major outdoor monument, a 1938 tied to the epoch of AIDSand its broader artistic
war memorial, includes a stacked and modular renewals of an often macabre fascination with the
Endless Columnmade of steel. KCHO'sopen-lattice corporeal and organic. Silence (plate 414), for
structure, seeminglyjury-rigged from building instance, made of test tubes on which the move
scrap and common hardware, has a very different ment of light gives the illusion of fluid traveling
character. As flimsy as a drawing outlining a dream, in transparent arteries, seems quietly to fight for
it is willfullyprecarious and provisory. Embodying its own life. More generally, elements of instabil
the triumph of aspiring ambition over impover ity—a lack of anchoring, slippery ground, shifting
ished means, these multiplied boat forms, rising maps, and dangerous terrain—define the experi
upward, irresistibly conjure the worldwidemigra ence of much of Hatoum's art, and its lingering
tory phenomenon of "boat people," fleeing their sense of deracination. A mat, as entrails (plate 466)
homelands—even if the sculpture, and its creator, beneath one's feet sums it all: no welcome at any
elude any simple political categorization. KCHO's location. Similarly,the art of Toba Khedoori (plate
boats may in fact be traveling to the Cuban main 444)—an artist living in Los Angeles, but born in
island (and Havana) from his destitute native Isla Australia to Jewish Iraqi parents—has no particular
de la Juventud. ethnic inflection, but her ghostlike architectural
Poetically ethereal yet monumental and loom sites may be taken to speak of an unspecified
ing, his ascending, gyrating boats open onto the place left behind.
broader meanings of voyage and transit, freighted The work of Anish Kapoor, by contrast, in
with both hope and peril. Another KCHOwork, the volves a transnational vision that is deliberately,
drawing In the Eyes of History (plate 447), may evidently bifocal. Half Jewish Iraqi, half Indian,
have a more pointed intent. By re-imagining one Kapoorleft Bombayfor London in 1973, but has
of early Communism'smasterworks— VladimirTatlin's persistently maintained in his art traces of his
1920 vision for a colossal Monumentto the Third Indian heritage. His 1986 sculpture A Flower, A
International—as a drip coffeemaker, KCHOseems Drama LikeDeath (plate 164) enacts a coming
to make a sardonic comment on the translation of together of opposites—the male and the female,
distant Soviet ideals into local Cuban realities. the erotic and the spiritual—in ways that evi
In such complex circumstances, where local dently evoke such Western origins as Alberto
inflections are informed by broad education in Giacometti's Surrealist sculptures, YvesKlein's
an international modern tradition, and where the notions of color, and CarlJung's typologies. But
artist's life experience may involve a variety of the work is just as evidently associated with the
cultures, native and adopted, it is often far from sexually charged Hindu combination of lingam
obvious how one should identify any particular and yoni, and the intense powdered pigments of
"ethnic element" in a given body of work. Perhaps Kapoor's Indian culture. The work is permanently
it is more useful to think, as EdwardSaid has sug bathed by the willful ebb and flow of two cultures.
gested, of the pervasiveness of a "contrapuntal" Chris Ofili, especially, defies easy cultural
consciousness, inherent in the way exiles experi categorization. Born in Europe—in Manchester,
ence, by definition, more than one culture, one England—Ofili is the son of Nigerian immigrants.
home. Mona Hatoum, for example, was born in Livingin London, he has been concerned less with
Beirut to Christian Palestinian parents, but since any simple recovery of African roots than with
1975 she has been in effect an exile, based in contemporary stereotypes of his race. And the
England. The forms of her work reflect the West vehicles of his expression—intricately worked
and her British art training, but the content is paintings that seem at once gaudy, pungent, and
more personal and less easy to associate with tender—are extravagant hybrid fictions. In Prince
any one culture. Often her expression involves amongst Thieves(plate 548), the caricatured pro-

514 | Essays
file of a black man, decked out in a necklace ences from marginalized cultures only a savvy
crowned by a rough ball of elephant dung, is strategy of "niche marketing," bound eventually
embedded in an explosive web of elaborate pat to exhaust the freshness of their appeal, or are
tern, iridescent color, and surrounded by count they the signal of a growing wave of art that will
less small collaged heads of black men clipped render obsolete many of the frontiers, boundaries,
from contemporary magazines. Derivedfrom some and self-enclosed traditions that have been so
exotic tale, the quintessential fiction of the determining? Is this a phenomenon of greater
Thousandand OneNights, he looms large in this tolerance of expanded diversity, or only the cloak
nocturnal scene, like a dark, expanding, hallu for an increasing homogenization? In all the cases
cinogenic vision. touched on here, fluency in the language of
As a sophisticated young member of a lively Western art has been a requisite for access to the
urban art community, Ofili is fully conversant with global sphere of exhibitions, museums, galleries,
long-standing debates pitting abstraction against and journals. It may be fair, then, to wonder
figuration, craft against ready-made appropria whether, in the process of featuring and enabling
tion, and so on. Hence the hybrids in his work difference, the new art world is ultimately weak
bring together not only inflections of different ening the authority of any zone of resistance,
cultures, but also elements of opposing approaches such as those artists who choose not to speak
within modern Western art. The highly decorative, in the current vernacular of the marketplace.
cake-icing surface, for example, seems right in
step with certain trends of the 1990s, but its
swarming fields of small resin dots actually stem
from dot drawings the artist saw in Zimbabwe.
The elephant dung offers a still more complex ori
gin. An appropriated, "transgressive" ready-made
material taken from the London zoo, it also con
jures up African tribal art, where its presence is
affirmative and even sacred. Its inclusion suggests
an outsider translating European strategies, and,
at the same time, an exile looking back with a
new eye on indigenous practices. Ofili is neither
and both. Playing on a complicated scale where
respect and veneration match satire and degrad
ation in a way that mingles an almost over-
sweetened lyricism and lushness with an occa
sional obscenity, Ofili reinvents—one might say
fabricates—the experience of his richly layered
selfhood, tethered to several cultural traditions
and outsiders' perceptions.
Hybridization is no absolute novelty, but until
now only Western artists (Gauguin and Matisse to
name two) have received attention, at the expense
of Third Worldartists grappling with the main
stream. The brand new spotlight currently focused
on the many individual "creole" languages of vari
ous artists may represent nothing more than a
trendy thirst for exoticism. Globalization,as stated
before, raises a host of unresolved questions, and
a globalized field of art poses similar conundrums.
Are the borrowings from and minglings of refer

D a f t a r i | 515
OneThingAfter Another:Serial Print Projects | Judith B. Hecker

The making of art is, in many formance, and video art, photography, and
ways, predicated on the copy. new-media technology (including digitization,
The original, its likeness, and virtual reality, and the internet) have expanded
the successive presentation artistic vocabularies, and artists are increasingly
of related images have always drawn back to the printed series because it
been central to the develop enables further exploration into the multiple,
ment of artistic representation. developmental, and spatial structures of these
But the arrival of Pop art and other mediums.
Minimalismin the 1960s,
with their proliferation of reproductive and serial Standardization
imagery, altered our understanding of these basic
concepts. Andy Warhol's pervasive repetition of The print series is perhaps most easily understood
images from the mass media, and Sol LeWitt'sinfi in terms of classic seriality, or the repetition and
nitely repeatable geometric works, among many variation of a standardized part to build the larger
others, displaced the historical categories of the structure of a work. Individual parts can some
unique, original, and hand-made in art. times be shown in isolation, but more often the
Printmaking played a crucial role in the de artist's intentions are only fully grasped in the
velopment of these new art forms in the 1960s presentation of the entire set. Numerous contem
because it inherently involves mechanization, porary works build upon such systems of logic and
standardization, and serial production. The print- push them in new directions. In fact, in Warhol's
maker's ability to reproduce images quickly and last printed project, Camouflage,1987 (plate 188),
repeatedly, as well as to create developmental we can see a shift from the straightforward seriali
imagery through the progressive printing and ty of the 1960s (Campbell'sSoup Cans, Marilyns)
reworking of proofs, made printed work a natural to a more experimental approach.
medium of experimentation and innovation. WhileWarholcontinued to take his subjects
Through the print series or portfolio, artists could from popular culture until the end of his life, in
show multiple images together, emphasizing the later years, he often stressed their abstract quali
relationship among parts rather than a singular ties. This abstraction provided his serial imagery
presence. with new complexity.The relationship of camou
The innovations of the 1960s established flage fabric to the artist's obsession with disguise,
strategies that contemporary artists have adopted, as well as its symbolicassociation with militarism,
but with notable shifts. Whereas serial projects gives the project a satirical tone, but the portfolio
were formerly dominated by the modular repeti is most compelling because of its complexvisual
tion of geometric shapes (LeWittand Judd), or structure. Warholtook the same section of camou
the depersonalized successions of everyday flage fabric and subjected it to manipulation not
objects and images (Warholand Lichtenstein), only through color variation, but also through
today's projects emphasize content over formal changes in scale and orientation, creating an enig
experimentation, and engage more frequently matic relationship among the prints. The group of
with nontraditional mediums. Installation, per eight prints in Camouflageactually comprises four

516 | Essays
distinct pairs, each one depicting a different continuously changed colors, creating the percep
level of detail. tion of emerging and receding space. To make the
For John Armleder,whose work explores the prints, the artist isolated this movement in nine
relationships of art, design, and ornamentation, video stills that were then printed onto rectangu
the print portfolio is an ideal correlative to his lar plastic sheets through a complex pigment-
work in other mediums. In Gog, 1996 (plate 467), transfer process. The resulting images, when shown
Armleder draws upon Minimaliststrategies by together, give the impression of changing light,
using a standard shape—the circle—and creating color, and space, as shown in the original video.
thirteen different variations. Armleder infuses
each print with shocking colors, including fluores- Spontaneity
cents and metallics, that make the targets pulsate.
By virtue of these eye-teasing Op-art colors, the Contemporaryserial structures often strategically
work parodies the aloof stillness and standardiza employ serendipity and embrace chance, spon
tion associated with serial Minimalism.Whilethe taneity, and impulse. In the 1960s, art based on
individual composition harks back to the 1960s, materials, surroundings, and actions, was often
particularly to Kenneth Noland's concentric circle explored in printed form, and today artists con
paintings and Bridget Riley's pulsating forms, the tinue to evolve and reinterpret these strategies
hard-edge variation from print to print—coupled by incorporating new systems and technological
with targets that burst beyond the square of the advances.
paper—turns a simple geometric motif into an Terry Winters's portfolio of woodcuts, Graphic
ongoing optical event. Primitives, 1998 (plate 519), comprises nine cellu
Gerhard Richter, who has dealt with recycled lar networks that mutate from print to print, sug
imagery since the 1960s, expands upon classic gesting an organic metamorphosis rendered
seriality by infusing the standardized unit of the through drawing. This approach to imagery varia
square with abstract markings in the portfolio tion stands in stark contrast to the hard-edge,
128 Detailsfrom a Picture (Halifax1978), 1998 mechanical variance found in portfolios such as
(plate 520). Yet, in a typical Richter twist, the Warhol's Camouflageor Armleder's Gog. But like
seeming irregularity and arbitrariness of these much of Winters's work, GraphicPrimitivesappears
units are actually governed by a series of param to merge natural formations with synthetic sys
eters established by the artist. The portfolio is tems, creating tension between gesture-based and
based on 128 photographs the artist took in Halifax technological designs. This complexity, in fact, is
in 1978 of one of his abstract paintings. He then no coincidence. The images were first drawn and
classified the photographs into eight sets of six then scanned into the computer and manipulated
teen, each representing a particular angle, dis digitally, which gave the set a mechanical quality.
tance, and lighting condition. They were then In addition, the woodcuts were made from blocks
arranged in a large grid for a unique collage. cut with a computer-programmedlaser, adding
Continuing his long-standing practice of making another twist to the shifting boundaries between
printed images after photographs, Richter then standardization and impulse, mechanization and
transformed this collage into the print portfolio. manual arts.
The eight sheets—themselves each grids of sixteen The tension between standardization and
similar units—yield 128 reconstituted parts that spontaneity also emerges in the prints of Yukinori
evoke images ranging from lunarscapes to oil spills. Yanagi. The five etchings in WanderingPosition,
Circlesof subtle color create a serial structure 1997 (plate 507), appear—at a distance—to be
of diaphanous forms in the portfolio Woundsand simple variations on the shape of the rectangle.
Absent Objects,1998 (plate 518), by Anish Kapoor, Up close, however, these free-floating forms are
whose work in sculpture explores the concepts of filled with a dense network of wiry lines, which
space and emptiness, using abstract forms and become less penetrable toward the corners and
color. The portfolio is based on a project Kapoor outer edges. To create each print, the artist traced
did for BBCtelevision in which an abstract void the path of a single ant confined to the surface

Hecker | 517
of an etching plate. Based on a performance piece trates the imaginary acts and scenes of a play
in which the artist tracked an ant with crayon (numbering each print), creating the basis for
directly onto the floor of a gallery, the prints sub a subsequent film animation and a live theater
vert the rhetoric of Minimalism— dictated by the production.
rectangular size of the metal etching plate—to The progression of time within a singular dra
explore the concepts of movement and entrap matic moment is depicted in the prints of E. V.
ment. The irregularities of the rectangles create Day, known for her site-specific installations that
uneven pathways for the ants, underscoring the capture stop-action explosions of socially-charged
unpredictable forces driving the serial structure. objects and materials, such as a blow-up sex doll
Chris Ofili's print project North Wales,1996 or fashion gown. Seizing upon the sequencing
(plate 472), is an expression of the artist's varying capabilities of the print, Dayillustrates the
state of mind during his travels through the coun unfolding of an explosion from one stage to the
try. At each stop along his way, in a chronological next in Anatomyof Hugh Hefner's Private Jet (1-5),
fashion, Ofiliincised a different metal plate pre 1999 (plate 547). She created the series of five
pared with an etching ground. These spontaneous prints by tracing a blueprint of Hefner's private
visual ruminations were later transferred into ten jet, "Big Bunny," and then gradually transforming
printed images. The resulting networks are highly the drawing into a mass that permutates, from
intricate patterns, loosely related to the pattern print to print, into diffuse matter. Furthermore,
ing found within the layers of Ofili's large paint by replicating the medium of the blueprint, the
ings, but more specifically based on the artist's project parodies the seriousness of the airplane's
ruminations at each creative moment. The images original design.
differ widely, yet serial uniformity is maintained Movementand narrative are explored by Julian
by the artist's use of a consistent approach and Opiewith works that merge post-Pop imagery and
format throughout his journey. the computer age to present scenes straight out of
virtual reality. Using the flatness and color density
Time of the screenprint, which is both friendly and
alienating in his work, Opietakes us on a virtual
Yanagi's incorporation of an ant's physical move trip through city and country: Imagine YouAre
ment and Ofili's own visual travelogue suggest yet Driving;Cars?;Imagine YouAre Walking;Cityscape?;
another type of the serial project in the contempo Gary,Popstar; Landscape?, 1998-99 (plate 541).
rary period: the two-dimensional representation of The images are instantly recognizable for their
time, motion, or events. The film-animation artist generic simplicity, but also strangely unfamiliar
WilliamKentridge develops a narrative in his port because of their hyper-technological edge. The
folio Ubu Tellsthe Truth, 1996-97 (plate 501), prints, in fact, are derived from the artist's evolv
employingthe Surrealist poet Alfred Jarry's fic ing library of computer-scanned images, which he
tional character Ubu—a symbol of the physically then manipulates. And although the sequence
grotesque and politically brutal—as a metaphor for within the series is interchangeable, when shown
the South African Truth and Reconciliation Com together the prints create a narrative about the
mission. Ubu is depicted in two ways, using differ way we inhabit and navigate the different spaces
ent etching techniques: as a white chalkboard of our world.
drawing based on Jarry's cartoonlike character Peter Halley's Webproject for ExplodingCell
(with a spiral belly and pointed head), and a more draws upon both classic seriality and the temporal
literal textured human counterpart (based on a structure of the printed series. In 1995 Halley cre
photographic self-portrait of the artist). Ubu is ated a series of nine black-and-white images,
shown acting out symbolicallyin ten different ExplodingCell,which depict a cartoonlike organic
prints, for example, cleansing himself under the structure in the process of exploding. These tech
shower, scratching his back, lying on a table nological abstractions, printed from a digital file
under an interrogation lamp, and looking at him onto sheets of paper, can be installed as wallpaper
self in the mirror. With this series, Kentridge illus in a gallery (plate 443). Later Halley turned this

518 | Essays
series into a Webproject, which enables users to
access and design their own exploding cells. Users
are directed to choose one of the nine images and
then to select from 256 colors available for shad
ing the different parts of the cell. Once the design
is complete, the image is printed. Taking its cue
from the expansivenessof 1960s repetitive imagery,
such as Warhol'sendless grids of S&HGreenStamps
or colors of the Marilynportfolio, Halley's project
provides unlimited replication of nine images, as
well as over sixteen million possible color varia
tions. The project is permanently installed on
the Weband will never lose its quality—the first
copy is as pristine as the millionth—marking a
new chapter in the discourse on reproduction
and seriality.
Although the serial project is strongly linked
to the particulars of printmaking, its principles
also extend beyond. Whether through formal
experimentation, content-driven approaches, or
the representation of action and time, the serial
structure has assumed an increasingly important
position in all mediums. Among examples in other
mediums are the stark, gridded architectural pho
tographs of Bernd and Hilla Becher (plate 198),
and the stackable rectangular modules of Antonio
Citterio's and Glen OliverLow'sMobilContainer
System (plate 396). The serial narrative of Gerhard
Richter's monumental fifteen-canvas October18,
1977 (plate 210) relays media fragments from a
singular event, the murder of the German Baader-
Meinhof group; while the extended narrative of
Seiichi Furuya's photographs (plates 27, 28), doc
uments his wife in portraits over a four-year peri
od. The pervasiveness of the serial project perhaps
speaks to an overriding contemporary interest in
process and continuity over the singular work or
finite moment—a way of representing process
itself as the reality of the world that surrounds
and defines us.

Hecker | 519
Aspects of DocumentaryPhotographyin EuropeSince 1980 | Susan Kismaric

In the last several decades, two countries Eskildsen, became the curator of the combined
have emerged as leading centers of con collections. Eskildsen provided a venue for new
temporary documentary photography in work by younger photographers, and her exhibitions
Europe: Germanyand Great Britain. of lesser known figures from Germanphotographic
Each has a distinct photographic tradi history have added to the evolving photographic
tion that extends back to the nine infrastructure. She has also organized biannual
teenth and early twentieth centuries; exhibitions of the photographs of the recipients
and a significant segment of contempo of grants for contemporary Germanphotography,
rary work frequently bears a debt to among them Michael Schmidt, Anna and Bernhard
these early beginnings. Germanyand Great Britain Blume, and Andreas Gursky.
are now the most important sites in a field that In addition, two German schools were major
also includes Spain, the Netherlands, France, and influences on students of documentary photogra
Russia, among others. phy: those who studied with Bernd and Hilla
In Germany,despite the devastation of World Becher at the Kunstakademie in Diisseldorf (where
WarII, an infrastructure for a serious artistic pho Nam June Paik and Joseph Beuys also taught) and
tographic community had emerged from many those who attended the Werkstatt fur Photografie
diverse sources and was in place by the late 1970s. in Berlin, founded by Michael Schmidt.
Beginning in the late 1960s, the Germanpainters The work of Bernd and Hilla Becher derives
Sigmar Polke, Gerhard Richter, and Anselm Kiefer, from the French encyclopedic tradition of typolo
all of whom use or have used photography as a gies, in which the gathering and sorting of indi
medium, or use photographs as a basis or starting vidual things within a category contributes,
point for their work, contributed to the presence through comparison, to an understanding of the
and consideration of photography within the Ger whole. Typology'sphotographic tradition is best
man art world. The work of these important post exemplified by the work of the Germanphotogra
war painters began to be shown internationally in pher August Sander, who created a multi-volume
the 1970s, lending credibility to the consideration atlas of German social and professional types.
of photography as a significant medium that could Sander's project was halted in 1933 when the
be employed in complex ways. By the mid-1980s Nazis confiscated the printing plates, but much
photographers were beginning to compete success of it was published posthumously as Citizensof
fully with painters for attention and space on the the TwentiethCentury. Other notable Germanpho
walls of galleries and museums. tographic typologists were Albert Renger Patzsch
In 1959 Dr. Otto Steinert, hired to teach pho and Karl Blossfeldt, both of whom applied the
tography at the FolkwangSchoolin Essen, Germany, method to the study of plant life.
set up a collection of historical photography at Gastanks, blast furnaces, industrial facades,
the MuseumFolkwang, and used the collection to water towers, and coal tipples—the archaeological
teach and organize annual exhibitions of historical remains of the industrial age—have been the sub
photographs. Upon his death in 1978, Steinert's ject matter for Bernd and Hilla Becher since 1957.
private collection and library were added to the The Bechers and their students, now into a third
museum's holdings, and one of his students, Ute generation, have taken this "objective," or neu-

520 | Essays
tral, language of photographic description to cre case of Toys"B"Us he removed birds, thus ren
ate "proofs" of the historical symbologyof the dering the subject devoid of organic presence
twentieth century. The Bechers' work (plate 198) (plate 542). Or, as in another example, he uses
comprises grids of black-and-white photographs the computer to replicate digitally half of a space
of the same kinds of structures, frontal views to create a symmetricalwhole. Gursky'slarge-scale
made from the same distance and vantage point. pictures create a world we feel we can walk into;
They look more like pictures commissionedby they alert our sensual and intellectual conscious
engineers or industrial architects than expressive, ness to the overwhelmingpresence of consumer
artistic work. ContemporaryGermanphotogra ism at the end of the twentieth century. In his
phers who studied with the Bechers, such as pictures, Gurskyseems to be striving toward a
Thomas Struth, Thomas Ruff, and Andreas Gursky, kind of perfection, a photograph that represents
have applied this methodology (minus the grids) all pictures.
to other subjects, in photographs that are reflec The work of Gurskyand Struth, like that of
tive of their own generation. the Bechers, is made from what might be called a
In the work of Thomas Struth (plates 282, 283, middle distance, where the horizon line runs more
284), this methodology has been applied to land or less across the center of the picture, providing
scapes, city streets around the world, the housing a somewhat distant and seemingly unmediated
flats of Chicago, and the office buildings of Hong view. The individual work of these young Germans
Kong, as well as to people in various countries, comprises a kind of archive. In the work of the
notably visitors to museums. In his landscapes Bechers, selections from the archive are brought
there are no people, recalling nineteenth-century together by the grid system. In the work of the
photographs made for topographical purposes. younger generations it is the gathering of pic
Struth exploits the camera's capacity for seeming tures, often very large-scale work, that brings
ly uninflected vision. Rather than use photogra aspects of the archive to one site (the exhibition
phy to document the past, as in the case of the space or book) for contemplation.
Frenchman Eugene Atget, however, he uses his Drawingon the style of the Germantypologist
neutral views of the present-day world to return Karl Blossfeldt, the Spanish photographer Joan
the viewer to the self—in the present—in order to Fontcuberta (plate 61) has utilized a serious con
make us think about the future. temporary critique of photography to convey cul
Thomas Ruff (plate 234) has photographed tural cliches and stereotypes with a droll sense of
the expressionless faces of anonymous Germans, humor. In his studio, Fontcuberta has created a
mostly students and friends, with a blandness that pseudoscientific photographic study of nonexis
denies authorial intervention and invites a kind of tent flora and fauna. In an effort to undermine
microscopicinspection of his large-scale color por the scientific and factual aspects of photography,
traits. Discouragingour interest in the individuals he created plants in his studio using various mate
pictured, Ruffs portraits precipitate questions rials, labeled them with invented Latin names, and
about the relationship between photography's "documented" them with invented data in the
descriptive capacity and the traditional implica style of Blossfeldt.
tions of portraiture. The work of the Dutch artist Rineke Dijkstra
In the photographs of Andreas Gurskythe is, tangentially, an extension of the German
typological methodology has been applied to sub school of the Bechers. Dijkstra always works in
jects around the world, focusing on global com series, photographing people who are experiencing
mercialism as seen in stores, public institutions, similar psychologicallyand sensually heightened
and other sites. Through the use of advanced pho states of mind: self-conscious, awkwardteenagers
tographic technology Gurskyhas created a body of in bathing suits, women who have just given
work that reflects the current world. He perfects birth, or matadors who have just left the bull ring.
his "neutral" color imagery through digital alter The common denominator among these groups is
ation of the work, erasing details that distract us vulnerability and how the individual copes with
from the intended impact of the picture. In the it in front of the camera. In the diptych, Tia,

K i s m a r i c | 521
Amsterdam, 1992 (plate 427), we see two close newly united city, and one that is burdened with
frontal views of the subject's expressionless face, the weight of its historical past. As elliptical as
one made the week she gave birth and the other the individual photographs may be, the sum is an
six months later. The photographer complicates overpoweringmontage evoking ineffable tensions
our notions of "before" and "after," by reversing and despair.
the chronology of the pictures on display; the last Thomas Florschuetz (plate 132) emigrated from
comes first. East Germanyin the late 1980s and lives in Berlin.
Bernhard and Anna Blume are Cologneartists Since he began photographing he has used himself
who have been collaborating since 1980 on con as his subject, compiling diptychs and triptychs in
ceiving, staging, and photographing themselves which he rearranges close-up images of parts of
in what they call Photo Actions. In the 1960s they his body into jarring juxtapositions evocative of
studied at the DiisseldorfKunstakademie when neo-Expressionist art. The work is aggressive both
Joseph Beuys was there. Their work derives from through its monumentality and its intimacy. It
the Performance art of the late 1960s and 1970s, also recalls European Performance art of the
which was often documented by photographs. 1970s, especially the Vienna Actionists, whose
KitchenFrenzy, 1986 (plate 144), records night extreme simulations of brutal self-mutilation
marish encounters with inanimate objects such as were documented photographically.
potatoes and kitchen utensils, which assume a life In Great Britain the persistent division of
of their own. These photographs undermine the classes created an insistent photographic anti-
seriousness of the daily rituals of traditional, establishment that demanded a documentary
German middle-class life. tradition rooted in social change. As early as
Another major aspect of German photography 1877-78, the photographs of John Thomson in his
was produced by the students of the Werkstatt fur book, Street Life in London, documented the lives
Photografie in Kreuzberg, Berlin, beginning in and work of the city's under-class. The work of Bill
1976. Michael Schmidt, founder and director of Brandt, who photographed his countrymen of all
the workshop, invited many American photogra classes and conditions beginning in the 1930s,
phers to teach studio classes and to lecture, was of major significance to postwar documentary
among them Robert Frank, WilliamEggleston, photographers. Such photography experienced a
Ralph Gibson, Robert Adams, John Gossage, and new life during the years that the conservative
LewisBaltz. The work of these American docu MargaretThatcher was Prime Minister. Chris Killip,
mentary photographers, who were then largely Paul Graham, and Martin Parr photographed the
unknown in Germany,was experienced through various rungs of England's social ladder. Killip's
their widely published books and their visits to works (plates 246, 306), are a kind of bitter poem
the workshop. Schmidt, reacting to the practice in which Newcastleis a place of unrelenting
of German photographic trade schools designed despair, where an irrevocable, unidentifiable
to train photographers for applied photography, social force has undermined the individual lives
understood that the strong American infrastruc pictured. The cumulative expression of the reality
ture for photography was important to the future of life in post-industrial England in his deeply
of Germanphotography and that such an infra original pictures is a political and personal cry
structure could be created in Germany.Schmidt, of rage.
born in 1945, confronted the wrenching and divi Paul Graham'swork describes the boredom
sive effects of the war by making and nurturing and frustration of people waiting in employment
work that would be expressive of the individuals and social-service offices across Britain (plate
of his generation. 111). Often printed in large format and in color,
Schmidt's project, U-ni-ty(Ein-heit), 1991-94 his photographs are realistic depictions of demor
(plate 421), is represented by an installation view alizing conditions. The use of color in social
of photographs made in Berlin, where he lives. The documentary photography is somewhat a case of
work was done after the Berlin Wallcame down "working against type." Black-and-white photogra
and is a meditation on Berlin's condition as a phy has traditionally been regarded as more "real"

522 | Essays
than color, where the harsh "facts" of a situation retreating to the studio to create their own
are not softened through the seductive powers of worlds. ManyEuropean photographers, on the
appealing colors. In Graham'spicture the garish other hand, in returning to the origins of the
colors of these well-worn government sites en medium, are confronting the world straight on
courage us to accept the scene before us as a and embracing it with updated tools (computers,
contemporary reality, not a historic abstraction. color, and large-scale prints), despite its overpow
The humor of Martin Parr's photographs ering complexity and global scale.
(plate 261) is in sympathy with the British literary
tradition of satirical writers such as Jonathan
Swift and EvelynWaugh, whose caustic wit lam
pooned England's social hypocrisy, landed aristoc
racy, and political institutions. Historically,
social-documentary photography rarely focused on
anyone but the poor or very rich. Parr's send-ups
of Britain's middle classes are especially suited to
description in color. The color charges his work
with an energy descriptive of his subjects' contem
porary vitality.
The French photographer Patrick Faigenbaum
has photographed the Italian aristocracy in their
homes since 1984 (plate 148). The people in his
pictures, whose world is closed to most of us, are
described as simultaneously available and distant.
They often appear as small figures entrapped by
the grandeur of the past and by the burden of
their individual familial lineage.
Outside Europe, with the fall of the Soviet
Union, pictures by Russian photographers critical
of current social conditions and the former Soviet
government have come to the fore. In the work of
the Ukrainian Boris Mihailov,through a series of
panoramic views we see a fallen population (liter
ally and spiritually), victims of unemployment and
alcoholism in his hometown of Kharklov,right
after the fall of Communism(plates 313, 314,
315). This spontaneous moment, descriptive of
a general cultural condition, is evocative of the
work of the great French photographer Henri
Cartier-Bressonand that of the Czechphotogra
pher Josef Koudelka.
One of the surprising aspects of much current
European documentary photography—especially in
relation to that of the United States—is that the
Europeans seem to have reactivated and revital
ized the potential of photographic description of
the real world. Whilethe Americansmaintained a
belief in and appreciation of what is traditionally
called "documentary" photography well into the
1970s, many turned away from it mid-decade,
K i s m a r i c | 523
 TheVanishing Monumentand the Archiveof Memory| Roxana Marcoci

he T question of memorializa- a conventional heroic form and reverses public

tion has been salient in the expectations of it. A subsequent example is Robert
thinking of the last half cen Morris's WarMemorials,1970, a series of five lith
tury. How do we remember ographs conceived in direct response to the United
the past? What role do public States bombing of Cambodiain that year. Morris
monuments play in mediat proposed a group of visionary monuments, each
ing history and memory? In a colossal earthwork in the shape of a negative
an era that resonates with space: a crater, a trench, a star imprint, a nuclear-
the aftereffects of World waste repository, and a void left behind by
WarII, the Vietnam War, and the removal of the destruction.
Berlin Wall,the need to recollect has intensified. Recent decades have seen the actualization of
Yet, paradoxically, the capacity of traditional mon distinct negative-form memorials, particularly in
uments to preserve memories proves ever more Germany.Artists engaged in this practice, such as
precarious: considering that they either extol or Horst Hoheisel or Jochen Gerz and Esther Shalev-
absolve the deeds of history, monuments seal the Gerz, argue that no monument can better represent
process of remembering, thus reducing viewers to the conflicted motives of memory in contemporary
compliant observers. It is as if, James Young Germanythan a literally invisible or vanishing
writes, once we ascribe "monumental form to monument. In view of fascism's misuse of monu-
memory we have to some degree divested our mentality, their argument is especially appropriate
1 selves of the obligation to remember." to the antifascist memorial, but also holds true for
Post-WorldWarII artists have systematically the commemoration of other victimized peoples.
engaged in an aesthetic interrogation and implicit In his Proposalfor a Monumentto the Survival
rejection of the monumental. Even as monuments of the Universityof El Salvador:Blasted Pencil (That
continue to be commissioned, debates over how Still Writes), 1984 (plate 95), an etching produced
to probe the past from new critical perspectives to protest Ronald Reagan's interventionist policies
have produced more active modes of memory- in Central America, Claes Oldenburgimagined a
telling, fusing historical inquiry with an awareness huge pencil as a monument, but presented it shat
of the ways history has been passed down to us. tered, under erasure. Its point, however, is intact:
The advent of "counter-monuments" (monu this is a pencil "that still writes," and thus contin
ments conceived to undermine the premises of ues to tell its story. Memorysurvives uncensored.
their own being) in the late 1960s constitutes an Felix Gonzalez-Torres's"Untitled" (Death by
effective visual component to the period's protests Gun), 1990 (plate 300), is a more particular analy
over war and civil-rights issues. An early instance sis of violence, this time on the home front.
is Barnett Newman'sBroken Obelisk, 1963-69, a Evokingthe monolithic configuration of one of
twenty-six-foot-tall pillar forged on the unstable- Donald Judd's Minimalistmodules, the work is
looking tip-to-tip junction of an upright pyramid in fact transient, consisting of a stack of paper
and an up-ended obelisk with a fractured shaft. sheets that are steadily replaced as viewers, by
Dedicated to Martin Luther King, Jr., following his invitation, take them away. On each sheet are
assassination in 1968, the work at once represents printed the names of 464 Americanskilled by guns

524 | Essays
 in a one-weekperiod, along with their photographs ished. Its proportions are based on the rooms of
and other personal data. Although commemorative, buildings near the city's old Judenplatz, where
the piece is also unstable and exposed to a disso the memorial is to be sited. This square, like many
lution that lasts until the stack is created anew. others in Vienna, is pregnant with invisible memo
KCHO(AlexisLeyvaMachado) makes sly refer ries, which recall the lives and culture lost to Nazi
ences to historical monuments to address issues crimes.
pertinent to the last quarter of the twentieth Whiteread is not alone in formulating histori
century, including problems of exile and cultural cal recollections on sites previously dominated by
dislocation. In the Eyes of History, 1992-95 amnesia. Shimon Attie's haunting photograph of
(plate 447), remakes one of the great propagan 1991, titled Almstadtstrasse43, Berlin, 1991 (1930)
dists designs of Russian architecture, Vladimir (plate 316), one of many works in which archival
Tatlin's never-realized Monumentto the Third images from the 1920s and 1930s are projected
International, into a pragmatic, mock-functional onto the buildings of Berlin's Scheunenviertel, the
coffee machine. In light of the special resonance prewar Jewish ghetto, has the effect of disrupting
Tatlin's model has in KCHO'shomeland of Cuba, the muteness of a conflicted neighborhood. Here,
the work reads as a tongue-in-cheek response to Jewish residents experience a return, but only as
the achievements of Soviet socialism and to the spectral beings to mark the site of destruction.
Utopian promise of monuments generally. In The Whileexuding a mood of Hollywoodfilm noir,
Infinite ColumnI, 1996 (plate 469), KCHOtakes a Attie's undertaking is deeply invested in the act
different modernist icon, Constantin Brancusi's of memory and archival reconstitution. However,
Endless Column,as the prototype of a thirteen- the recovery of the past is never fully achieved.
foot-high structure made of assembled bentwood Although the archive to which Attie returns func
frames which have in common the fact that they tions as a data bank, a storage for historical docu
float: canoes, surfboards, kayaks, rowboats fully ments, it still cannot reconfigure conditions that
equipped with oars. Drawingon the imagery and have been irretrievably lost.
construction methods of balsas, the homemade Significantly, Michael Schmidt's U-ni-ty(Ein-
rafts that Cubans use to flee the island illegally, heit), a photo-project made between 1991 and
KCHO'sflotilla serves as a trope for escape and 1994 (plate 421) in response to the fall of the
freedom, referencing the mentality of migration. Berlin Wall, mixes 163 black-and-white pho
KCHOrehashes the notion of the monument to tographs, some taken by the artist in a factual
explore the fluid, unbounded space that describes style, others culled from newspapers, propaganda
2 the "global condition of late modernity," while journals, and related sources. In an effort to artic
Rachel Whiteread turns to the notion of inferiori ulate the difficulties of constructing images of
ty, indeed, of the literal inversion of space, to dig historical recollection in Germanytoday, Schmidt
into the pool of memory and collective history. interfaces contemporary images of anonymous and
Her casts in plaster, wax, rubber, resin, or con notorious people, mass scenes, places, emblems,
crete, which range from domestic objects to full- and monuments with archival ones. History is
scale rooms (plate 398), convey a sense of history presented not as a linear sequence of events but
even as they signal human absence. Untitled as a decentered, simultaneous narration of sepa
(Paperbacks), 1997 (plate 503), is the negative rate and contingent frameworks. Having to deter
cast of a walk-inlibrary, where row upon row of mine personally whether a given image is taken
paperbacks, shelved spine inward, double as a in East or West Germany,prior to or after World
mnemonic field. The installation is related to WarII, during division or since reunification,
Whiteread's project for a Holocaust memorial in viewers begin to question the limits of historical
Vienna in the form of a book repository. Evincing representation.
the iconoclastic side of Jewish tradition, the Among contemporary artists focusing on the
library in this case is sealed, a solid cube sitting archive, and in particular on the sublimation of
on a base inscribed with the names of all the artifacts in the Holocaust archive, Christian
concentration camps in which Austrian Jews per Boltanski is the most controversial. In his early

Marcoci | 525
work Boltanski invented "true" memories about attempts to survive the concentration camp in
his past using images of unidentified children to Auschwitz, and another that focuses on the
document his own childhood. In later installa artist's creative recording of his father's story.
tions, such as TheStorehouse, 1988 (plate 201), This is at once a work of history and autobiogra
he took signifiers of the Holocaust—blurry pho phy that includes both events from the past and
tographs, elegiac lamps, and hundreds of rusted the present conditions under which they are
biscuit tins containing cloth fragments—to overtly remembered. The constant shifting from one regis
manipulate the viewer's emotions. The biscuit ter of recollection and narrative to the next grants
boxes are rusted to look old, the personal effects renewed status to historical relativism. Through
do not belong to Holocaust victims of concentra out its narratives, Maus advances a particular par
tion camps, and the Jewish adolescents in the adigm for memory premised on acts of resistance
prewar photographs may still be alive. His work against forgetting and of confrontation with an
succeeds to arouse emotions not because it relies irrecoverable past.
on straight, documentary realism, but because it
draws on the powers of suggestion and mediated
memory.
Boltanski's representation of the Holocaust
is based on recycled material. He typically repho-
tographs and enlarges his images, so that facial
features are close-up, blurry, and less recogniz
able. Stylistically,these images come close to
Gerhard Richter's murky, out-of-focus paintings of
1988 that comprise October18, 1977 (plate 210).
Based on police snapshots of the incarceration and
death of three young political radicals, members
of the Baader-Meinhofgroup, the fifteen paintings
replicate in minute detail, right down to their
indistinct focus, the appearance of surveillance
photographs. Both Richter and Boltanski turn the
camera into a technology of incertitude. Richter
confuses different orders of representation to
undercut official history, while Boltanski suggests
that postwar memory of the Holocaust is not first
hand but indirect, filtered through the altered
lens of witness testimonies, films, photographs,
and newsreel footage.
Similar views are expounded by Art Spiegel-
man, whose works convey the chilling memory of
war and the Holocaust by fusing the facts of his
tory with the reality of playthings in comic-book
notes
format. Spiegelman's comic book Maus:A Survi
1. James E. Young, "The Counter-
vor's Tale, produced from 1980 to 1985 (plate Monument: Memory Against Itself
in Germany Today," Critical Inquiry
130), reconfigures the codes of war commemora 18, no.2 (Winter 1992): 273. See
also idem, The Texture of Memory:
tion to create an intergenerational testimony. Holocaust Memorials and Meaning
(New Haven and London: Yale
Composedof well over 1,500 drawings, Maus pre University Press, 1993), and At
Memory's Edge: After-Images of the
sents deportation and genocide as an allegorical Holocaust in Contemporary Art and
saga between mice (Jews) and cats (Nazis). The Architecture (New Haven and Lon
don: Yale University Press, 2000),
narrative is constructed around two interlocking 2. Douglas Fagle, "Volatile Memories,"
in No Place Hike Home) (Minnea
stories: one that recounts the artist's father's polis: Walker Art Center, 1997): 118.

526 | Essays
 Relentlessly Transparent| Terence Riley

. .
he contemporary interest in only formal and decorative purposes, to call atten
2 transparency in architecture tion to itself."
and design in work of the last By the time Roweand Slutzky had published
two decades has a rich theo their essay, it would have been hard to say that
retical and artistic lineage. glass, as a building material, enjoyed fashionable
In 1976 the architectural status. Whatever novelty might have been associ
historians Colin Roweand ated with it had long receded, as its use proliferat
Robert Slutzky published ed in the banal office towers built in the 1950s
"Transparency:Literal and and 1960s throughout the world. By 1976, literal
Phenomenal," an essay in which a critical distinc transparency had become a straw man in Rowe's
tion was made between what they called "phenom and Slutzky's polemic, which became particularly
1 enal transparency" and "literal transparency." potent in the architectural ferment of the post-
This dialogue favored the former, which was a 1968 generation, whose rhetoric reviled glass boxes
theoretical transparency of forms, in the manner as the symbol of the architectural status quo.
of a Purist composition, as opposed to actual Their arguments became the underpinnings
material transparency, as in a glazed structure. of the formalist revival of the reputation of the
The influence of their ideas on architectural theo radical modernist architect Le Corbusierin the
ry was immediate and substantial, and it indicated work of the NewYorkFive: Richard Meier,John
the extent of the architectural community's disen Hedjuk, Peter Eisenman, Charles Gwathmey,and
chantment with glass architecture. This was Michael Graves. Even as Rowerevived interest in
acknowledged two years after the publication of Le Corbusier'sNeo-Plasticism,he repositioned this
"Transparency"in the form of an ironic collageby master's work in a historicist manner in his essay
the Chicagoarchitect StanleyTigermanthat shows "The Mathematics of the Ideal Villa,"validating
LudwigMiesvan der Rohe's 1950-56 CrownHall the more frankly traditional work of Robert Ven-
on the IIT campus in Chicagosinking, Titanic-like, turi, Robert A. M. Stern, and Philip Johnson-
3 into Lake Michigan. soon to followthat of the NewYorkFive.
Nearlyhalf a century earlier, Mies's colleague, Ironically, the ensuing excursion into the
the Germanfunctionalist LudwigHilbersheimer, postmodern debates of the 1970s and 1980s seems
noted that Joseph Paxton's 1851 Crystal Palace in to have provided the basis for the rediscovery of
London, the first completely glazed structure, had literal transparency in contemporary architecture
"obliterated the old opposition of light and shad and design. The sudden and extended renewal of
ow, which had formed the proportions of past interest in materially transparent structures and
architecture. It made a space of evenly distributed objects is notable for several reasons, not least of
brightness; it created a room of shadowless light." which is the originality of the work that was pro
In contrast to the functional beauty he saw in duced. While Mies's name is increasingly invoked,
Paxton's masterpiece, Hilbersheimer decried its the current fascination with the glass box has
contemporary use: "Glassis all the fashion today. successfully avoided the taint of revival.
Thus it is used in ways that are frequently prepos Part of this renewed interest can be traced
terous, having nothing to do with functional but to the delight in new technologies that were only

I 527
 recently available to designers and architects. rather than simply a climatic barrier, can be fur
Donald T. Chadwick'sand WilliamStumpf's Aeron ther seen in Herzog & de Meuron's Ricola Europe
Office Chair, 1992 (plate 375), with its see- Factory and Storage Building, 1993 (plates 389,
through "pellicle" seat and back and Bob Evans's 390). Here the architects applied reproductions of
Tan Delta Force Fin, 1994 (plate 434), cast in Karl Blossfeldt's nineteenth-century photographs
translucent and colored resins, both prominently of plants—representing the herbs used to make
utilize new processes and materials that seduce the pharmaceuticals—in a screenlike pattern that
the eye with their ability to dissolve the bound alternately allows and blocks vision and light.
aries between the solid and the transient. Shiro Miesvan der Rohe's 1946-51 glass-and-steel
Kuramata's How High the MoonArmchair, 1986, Farnsworth House in Piano, Illinois, was conceived
constructed of perforated metal, appears to be as a platform for contemplation of the outside
the ghost of itself (plate 143). world, a place from which to view outward, in con
The current fascination with transparency is trast to a directed "gaze," or vision, that estab
also characterized by a rejection of absolutes and lishes a relationship of desire between the viewer
a greater sense of subtlety. Jean Nouvel's descrip and the subject. The current revitalization of the
tion of his Cartier Foundation for Contemporary glass box as a formal type displays significant evi
Art in Paris, 1992-93, as haze and evanescence, dence of the difference between the objective and
describes a path beyond phenomenal or literal subjective viewpoints. This is, no doubt, related
transparency (plate 397). Recognizingthat glass is to its potential for creating relationships between
often as reflective as it is transparent, Nouvel viewers and subjects. The contemporary glass box,
speaks to the layering of images more familiar to therefore, is no longer simply a place from which
the multiple exposures of the photographic eye or to look out but a screen that allows an exchange
thin skeins of paint that lie one over the other. of views, as in the Ricola factory, a constant
Similarly,Rem Koolhaas's 1989 competition engagement with the world.
design for the National Library of France evinces The same attitude is evident in the world of
little interest in the notion of absolute transparen contemporary design, where Antonio Citterio's and
cy (plate 247). Rather, the building seems to have Glen OliverLow'sMobilContainer System, 1993
a stronger conceptual relationship to the famous (plate 396), or Enzo Mari's Flores Box, 1991 (plate
three-dimensional representation of the human 332), contain, but do not remove from sight, the
body first exhibited at the German Hygiene objects they hold. Architectural in their conception,
Museumin 1930 than to a glass box. In both the both receptacles hold objects out of the way but
museum's anatomical study and Koolhaas's design not out of sight; the objects remain veiled presences,
the "skin" is made of glass, allowing for a study of like the "organs" of Koolhaas's library, partially
the internal organs. In the case of the former, the visible through their thermoplastic polymer walls.
organs are the lungs, heart, liver, etc.; in the case The appeal of this visual phenomenon may be dis
of the latter, the revealed "organs" represent the cerned in the words of the literary critic Jean
principal interior functions suspended within an Starobinski: "The hidden fascinates. . . . Obstacle
architectural body. The modernist metaphor of the and interposed sign, [the] veil engenders a perfec
relationship between architecture's "skin and bones" tion that is immediately stolen away, and by its
4 is here reworked: whereas Mies saw the glass skin very flight demandsto be recaptured by our desire."
as infill to the structural frame, Koolhaas's design The "skin-and-bones" interpretation of the
follows a more anatomical model. In the National glass box favored not only a sense of absolute
Library, the skin is a continuous membrane and transparency but also—in Miesian architecture—
the structure—the skeleton—is found within, as in an exposition of structural clarity. ToyoIto's 1995
a human body. Furthermore, the skin is inscribed Mediatheque Project in Sendai, Japan, with its
with images of the exterior world, as images of writhing trunklike supports, suggests that alter
clouds are "tattooed," if you will, on the struc nate structural readings are not only possible but
ture's skin. The idea that the architectural skin also highly provocative (plate 446). Here, the clas
might be a surface embedded with information, sical repose of the trabeated pavilion gives way to

528 | Essays
 a dynamic expressivitythat emerges from within, viewer a prefiguration of the interior space. Judi
casting the building's glazed membrane as a screen ciously placed openings in smooth concrete walls,
through which the viewersees an interior landscape. in this instance a window in the shape of a cross,
Starobinski's sense of the subjective gaze lends further open the opaque volume to spatial compre
itself to the idea of "mediated" vision. The idea hension by the mind if not, completely,by the eye.
that an interposed veil, or screen, conditions the Herzog & de Meuron's Signal Box in Basel,
viewer and subject alike cannot easily be sepa 1988-95, further explores the notion of an intel
rated from the world's burgeoning media sensibil lectually transparent building (plate 451). Housing
ity. Elizabeth Diller's and Ricardo Scofidio's Slow miles and miles of cable that regulate the complex
House, 1989, removes any distinction between the movement of thousands of train cars and engines,
transparency of glass and the transparency of digi the Signal Box is covered in ribbons of copper
tal media (plate 238). Oriented to a bayside view, sheathing. The effect is compelling aesthetically
the "picture window"is combined with a monitor but also gives visual expression to the structure's
that captures the same panorama. Similarly,Joel use: the cables within are, in fact, also made of
Sanders's 1991-95 project for the KyleResidence copper. A similar reading of form and material
in Houston interposes the small screen of the tele might be applied to Renzo Piano's Kansai Inter
vision with ersatz "vistas" of the American subur national Airport in Osaka, 1988-94 (plate 410).
ban landscape (plate 450). Both projects conflate The shimmering, sensuous undulation of the roof
the notion of a traditional landscape view and that and the complex trusses that support it need no
of the global media landscape. justification beyond their beauty. Yet, it is all the
The connectedness of media culture is appar more satisfying to know that the profile of the
ent in other design disciplines as well. In their roof is meant to act as conduit for the blasts of
overlapping layers of color, type, and images, the cooled air that are projected into the space. In
posters produced by the graphic design group cyan, fact, the shape is derived from that of a gust of
such as Foundation Bauhaus Dessau, 1995, display air, making visible an otherwise unknowable form.
a digital ecstasy that fuses the near and far and Rody Graumans's 1992 design for the 85 Lamps
the now and then (plate 455). Lighting Fixture, features eighty-five standard
If the notion of literal transparency has been household lightbulbs suspended from ordinary
vastly expanded, so, too, has the notion of phe electrical cable and insists on the absence of
nomenal transparency. Indeed, Rowe's and Slut embellishment (plate 365). Shiro Kuramata's
zky's definition of solid forms as intellectually seductive MissBlanche Chair, 1989 (plate 253), in
transparent has roots that predate Le Corbusier's which plastic roses are embedded in an acrylic seat
work of the 1920s. For example, the nineteenth- and back, might be seen in the same way. Named
century Prussian architect Karl Friedrich Schinkel's after the tragic Blanche Dubois in Tennessee
design for the Schauspielhaus in Berlin, 1821, Williams'splay A StreetcarNamedDesire,the chair
encouraged the audience to think of the pro is a sensual send-up of the pretentiousness not
scenium as a window on the city beyond, going only of its namesake but also of the omnipresent
so far as to paint a view of Berlin on the curtain chintz in traditionally decorated houses.
itself. And in Paris Henri Labrouste's Bibliotheque The current fascination with transparency,
notes in all its myriad forms, would suggest that Rowe's
Sainte-Genevieve, 1843-50, bears across its facade
1. Colin Rowe and Robert Slutzky,
"Transparency: Phenomenal and the names of famous authors, a device that and Slutzky's attempts to parse out polarizing
Literal," in Rowe, The Mathematics
of the Ideal Villa and Other Essays resounds with new meaning when it is realized distinctions between the "literal" and the "phe
(Cambridge, Mass.: MIT Press,
1976): 221.
that the names appear precisely in front of the nomenal" may have missed a much larger point
2. Ludwig Hilbersheimer,
library's bookshelves within—a marvelous example by failing to discuss the fact that, throughout
"Glassarchitektur," Die Form 4
(1929): 522. of a building's transparency even if made of stone. the twentieth century, the relentless pursuit of
3. Colin Rowe, "The Mathematics
of the Ideal Villa," in idem, The The contemporary architect Tadao Ando's the revelations afforded by transparency has been
Mathematics of the Ideal Villa and
Other Essays. Church of the Light in Osaka, 1984-89, might also a constant theme that has defined the genesis,
4. Jean Starobinski, "Poppaea's Veil,"
in idem, The Living Eye (Cambridge, be seen in this manner (plates 265, 266, 267). growth, and revitalization of modern architecture.
Mass.: Harvard University Press,
Ando's affinity for simple cubic forms gives the
Riley | 529
 We'reNo Angels: RecentViolent Movies | Joshua Siegel

A At a time when high bones, a dying soldier's blood-sputtering gasps).

body counts, great There is a seeming contradiction in our present
volumes of spilled relation to such violence. Whilewar itself now
blood, and sensational seems to come to us through distanced images,
special effects have packaged as tidily and as neatly as a Nintendo
earned movie violence video game, we still go to the movies expecting,
the opprobrium of even craving, a full-fledged assault on our senses.
many viewers,it should This paradox has contributed to the fear that soci
be remembered that ety has become even more prone to violence as it
the cinema has always been violent—that it was has become less sensitive to its consequences. Now,
born violent. TheExecutionof Mary, Queenof Scots, perhaps more than ever, the entertainment industry
a kinetoscope made at the Edison Studio in 1895, is accused of using violence irresponsibly. Lawsuits
used stop-motion to flaunt the queen's severed against the movie studios have proliferated, most
head, and the first movie Western, EdwinS. Porter's notably cases in which victims' families blamed
TheGreatTrainRobbery,1903, culminates in a ban OliverStone's Natural Born Killersfor a rash of
dit firing his six-shooter directly at the audience. killing sprees in the mid-1990s.Recently, President
The suspicion of a causal connection between Clinton called on federal agencies to investigate the
watching violent films and acting violently has selling of violent media to children, film being only
also existed since the early days of cinema. In the oldest of its many siblings in the larger media
1909, the Supreme Court of Illinois upheld a Chi culture. Under such pressures, and trying to stave
cago ordinance requiring movie exhibitors to get off the loss of income from costly legal battles and
a permit from the police, ruling that Westerns national boycotts, the entertainment industry has
such as TheJames Boys and Night Riders "portray agreed to music labels, a television ratings system,
exhibitions of mischief, arson, and murder [that] refinements in the movie ratings system, V-chips,
would necessarily be attended with evil effects on and Internet regulation.
1 youthful spectators." Still, despite hundreds of studies, the deleteri
Of course, today's technologies have ren ous effects of film violence have not been proven.
dered movie violence far more convincing and Moreover,discussions of film violence have been
visceral. Old masters of the war film like Lewis muddled by an assumption that all violence in cin
Milestone, the director of All Quiet on the Western ema is the same, motivated by the same impulses
Front, 1930, and G. W. Pabst, the director of and pursuing the same goals. Of course, there is
Westfront1918, 1930, did not have the Steadi- a certain sameness to all film violence. With a
cams that enabled Stanley Kubrick in Full Metal keen eye on box-office receipts, Hollywoodstu
Jacket, 1987, and OliverStone in his Vietnam war dios have continued to breed scripts for their
trilogy, 1986-93, to thrust the viewer into the familiarity, using codified narrative genres and
chaos of a firefight. Nor were there digital sound favoring myths so clearly drawn that audiences
effects that can evoke the cacophony of battle can be sure to get what they paid for. Filmmakers
with such harrowing immediacy (earth-trembling have always known that crime pays handsomely,
napalm blasts, hollow-tipped bullets shattering particularly if spiced with a lot of sex.

530 | Essays
 But a closer examination of recent films reveals on their way to taking it over. The British director
that the contemporary use of violence has actually Ridley Scott's Blade Runner envisioned a future
been a complex and varied matter—certainly more Los Angeles where crime and overcrowdinghave
so than the public debate usually allows. Most vio driven the wealthy elite to offshore colonies,
lent films made since 1980 may be viewed in terms leaving a non-English-speaking people to live like
of three principal types: violenceshaped by myth, animals. Beneath the shadows of protofascist
which either fulfills or critiques the fantasies skyscrapers lies a labyrinth of neon-drenched
underlying political realities; violencethat bears streets teeming with the cacophony of a modern-
witnessto some injustice in the hope of changing day Tokyo.Harrison Ford, the reluctant hero,
it; and an aestheticized violencethat does not is summoned to hunt down and kill a group of
invite an audience's sense of grief or pity so much genetically engineered artificial humans-
as its fond recognition of familiar movie formulas. including a particularly nasty one who has crushed
his creator's skull with his bare hands—before
Violence Shaped by Myth they find the key to immortality and render
humanity obsolete.
The genres that cinema has most successfully The Australian director GeorgeMiller'sMad
created or reinterpreted—gangster melodramas, Max2 (TheRoad Warrior)is a postapocalyptic fan
Westerns, war epics, Biblical spectacles—use tasy in which a psychotic band of savages lays
violence to illuminate character and to further siege to a group of settlers in a war over precious
narrative drive, usually culminating in a denoue fuel. Weknow the enemy is unholy and deviant by
ment that preserves or restores society's moral their animal hides and motorcycles (like gay bik
codes. This tradition of cinematic violence contin ers) and from their Mohawksand war paint (like
ued in the 1980s and 1990s in such films as George "Indians" or punks). One of their leaders calls
Miller'sMad Max2, 1981, and Ridley Scott's Blade himself the "Ayatollahof Rock-n-Rolla,"and
Runner, 1982, dystopic fantasies that gave new they hoard oil. It befalls Mel Gibson as the Road
currency to the old movie icon of the renegade Warrior, once a family man before his wife and
antihero who must become an outlaw in order to child were murdered, now a gun-toting nomadic
defeat one (plates 43, 60). mercenary, to rescue the settlers and lead them
The lopsided Americaninvasion of the Carib across the desert to "Tomorrow-morrow"land,
bean island of Grenada in 1983 is the barely cam where they can build a Utopia founded on democ
ouflaged subject of Clint Eastwood'sHeartbreak racy and a capitalist free-market system.
Ridge, 1986, another mythmaking film that Yet Hollywoodin the 1980s also had its share
seemed to capture the anxieties and longings in of movies that tried to counter the tide of jingoist,
the contemporary political climate (plate 168). wish-fulfillment films by using violence to shatter
Eastwoodplays a Marine sergeant once decorated myths. In counterpoint to fanciful visions of
for his bravery in Korea and Vietnam, now scorned avenging angels and glorifications of American
as an anachronism.Becausethe modern army knows invincibility were Kubrick'sFull Metal Jacket, 1987,
nothing of war, Eastwood alone is capable of turn and OliverStone's war trilogy, Platoon, 1986, Born
ing a bunch of ragtag soldiers into an efficient on the Fourth of July, 1989, and Heaven and Earth,
platoon. After leading them in a heroic rescue of 1993, all of which reopened the wounds of Viet
Americanmedical students held hostage on a nam (plates 169, 170, 244). In the sadomasochis
Latin American island, Eastwoodpicks a Cuban tic boot camp scenes of Full Metal Jacket, Kubrick
cigar off a dead enemy soldier and lights up, appar illustrates with pitiless fascination how the mili
ently satisfied that after one loss (Vietnam) and tary makes killing machines out of young men.
one tie (Korea),Americahas just evened the score. Ron Kovic,the real-life protagonist of Stone's
Whether made in Hollywoodor abroad, films of Born on the Fourth of July, went to Vietnam with
this period also extended the use of violence to ful dreams of glory but returned home at twenty-one
fill a wish to symbolicallyvanquish "the others"— paralyzed from the waist down. As a boy growing
alien types who seemed to be corrupting the world up in conservative suburbs, Kovicwould pretend

S i e g e l | 531
he was John Waynein TheSands of Iwo Jima, with nothing—almost an illustration of the Fili
1949. Now,confined to a wheelchair in a rat- pino saying, "A desperate man will hold on even
infested Bronx Veterans' Hospital, he grows sick at to a double-edged knife."
the sight of The GreenBerets, 1968, on television. In the United States, Spike Lee ignited a
The myth and the reality didn't match. storm of anger and concern with Do the Right
Thing, 1989 (plate 245). Many critics argued that
Violence as Witness Universal Pictures was fomenting fears of a race
riot by releasing the film on a hot summer week
Some recent directors, particularly those of the end, not unlike the one Lee represented. Through
Third World,have followedthe neorealist tradition out the summer of 1989 audiences and critics
of using film as an instrument of social change by debated whether the film was indeed incendiary,
exposing the brutal realities of ghetto life, racial or whether it was an articulate, angry protest
violence, and class warfare, and by embedding against racism in America. Much of the controver
their militancy in colorful storytelling. In They sy centered on a climactic riot scene in which
Don't WearBlack Tie, 1981 (plate 25), the Brazilian black teenagers burn down a pizzeria that has
director Leon Hirszman chose as his subject the served the Bedford-Stuyvesantcommunity for
violent industrial strikes of the late 1970s that twenty-five years. Lee maintained that he drew
were ground zero for the overthrow of the military inspiration from actual incidents of white-on-black
dictatorship that had ruled since 1964. The harsh violence, and he was distressed that most critics
est films of slum life-Vittorio DeSica'sShoeshine, ignored this point.
1946, Luis Bunuel's Los Olvidados,1950, and
Hector Babenco's Pixote, 1980 (plate 26), among Aestheticized Violence
them—are devoid of romance. Babenco discovered
Fernando Ramos da Silva, the young boy who Some contemporary directors have dispensed with
would play Pixote, among the three million chil questions of morality or character motivation in
dren living on the streets of Sao Paulo, who are favor a hyperstylized self-referential violence that
forced to steal, turn tricks, deal drugs, even kill plays ironically with the language of filmmaking.
for a scrap of food. Fiction is bred from fact: sev The reference point of their violence is not so much
eral years after the film became an international the world of history as the history of cinema itself.
success, its star, da Silva, was murdered by the The violence in Stanley Kubrick's TheShining,
police. The slum devours its own children. 1980 (plate 1), derives from countless other horror
Social-realist filmmakers in developing nations films. While acting as the winter caretaker of an
contend that until true democracy has been isolated hotel, an author is driven to hunt down
achieved, their art belongs to a larger struggle for his wife and child with an axe. The roots of his
justice. One of these artist-activists, the Filipino violence are contemporary criminal defense argu
director Lino Brocka, insisted that it was only by ments: whisky or writer's block, cabin fever or a
going into the streets with his camera that he haunted past.
could attend to society's oppressed and counteract Quentin Tarantino brings Pop sophistication
the obfuscations of government-controlled media. to genre filmmaking. His Pulp Fiction, 1994
Because he made movies for what he fondly called (plate 408), became known as the film that
"the Great Filipino Audience," Brocka would coat launched a thousand imitations, all similarly mod
his polemics with the dangerous eroticism of Holly eled on a structure of interconnecting narratives
wood noir and melodrama. The title character of featuring cartoonish gangsters and their molls.
Bona, 1980, is an eighteen-year-old girl who aban Tarantino laced his film with references to earlier
dons her middle-class family to slavishly serve a movies such as Robert Aldrich's KissMeDeadly,
bit movie actor in the slums (plate 13). When her 1955, GordonParks's Shaft, 1971, and John
lover threatens to leave for Americawith his new Badham's Saturday Night Fever, 1977. Pulp Fiction
girlfriend, she scalds him with a pot of boiling may be rife with all manner of rape, torture, ritual
water, knowing that his departure will leave her execution, and gunplay, but since everything is

532| Essays
 wrapped in quotation marks and Tarantino's With box-office receipts higher than ever,
tongue is so firmly planted in his cheek, he gets film endures as our most important repository of
away with it. One reviewer safely described the archetypes, formulas, and signs that are so innate
killings and breaking of fingers committed by the to our collective unconscious as to constitute a
film's main characters as "occupational banali second language. It is not enough simply to ask
2 ties." The hitmen disarm us with charm and wit. whether the cinema has exceeded all bounds of
"Comeon, let's get into character," Samuel L. morality by satisfying our lust for violence. We
Jackson says to John Travolta before they murder must also ask whether the cinema has fulfilled
a couple of college students. its original aesthetic and political purpose: to
Fugitive love and the fetishism of violence convince us that we are what we seem. "The
are driving concerns in Kathryn Bigelow'sand cinema . . . aims at transforming the agitated
Monty Montgomery'sBreakdown(TheLoveless), witness into a conscious observer," Siegfried
1983, a chrome-and-leather look at Beat bikers Kracauer wrote in 1960. "Nothing could be more
in the late 1950s and a story of incest that leads legitimate than its lack of inhibitions in picturing
to patricide and suicide (plate 76). Drawingon spectacles that upset the mind. Thus it keeps us
the iconography and idolatry of Pop culture, they from shutting our eyes to the 'blind drive of
4 make references to MarlonBrando in The WildOne, things.'"
1953, and Kenneth Anger's ScorpioRising, 1963,
among others.
Martin Scorsese's Raging Bull, 1980 (plate 9),
adopts the arc of classic Hollywoodnarrative to
tell the story of Jake LaMotta,who rose out of
the mean streets of the Bronx by pummeling his
way to the world middleweight championship.
Scorsese consciously emulates the gritty realism
of GeorgeBellows'spaintings and boxing movies
like Robert Rossen's Bodyand Soul, 1947. One
critic described Raging Bull's ring scenes as having
3— "a cataclysmic beauty that deepens the terror"
the terror being the violence that begins in the
home. In Scorsese's darkest view of the Italian
immigrant experience, family life cannot be purged
of its violence any more than of its quotients of
guilt and self-loathing.
The violence of Hong Kong action movies
rests on surface spectacle, an athletic aestheti-
cism. Action sequences are outrageously choreo
graphed to resemble MGMmusical numbers.
Bullets fly and bombs detonate in crowded buses,
restaurants, even churches and maternity wards.
notes
Everything is at the service of speed, in the man
1. Garth S. Jowett, '"A Capacity
for Evil': The 1915 Supreme Court ner of Road Runner cartoons and Douglas Fair
Mutual Decision," in Matthew Bern
stein, ed., Controlling Hollywood: banks adventures, except when Sam Peckinpah's
Censorship and Regulation in the
Studio Era (New Brunswick, N.J.:
slow-motion bullet ballets are evoked. Underlying
Rutgers University Press, 1999): 22.
2. Desson Howe, "Pulp Fiction,"
the overwrought melodrama of John Woo's The
Washington Post (October 14, 1994).
3. Jack Kroll, "DeNiro's Bronx Bull,"
Killer,1989 (plate 250), is the theme of fraternal
Newsweek (November 24, 1980): loyalty: ChowYun-Fatis a hitman who discovers
128-29.
4. Siegfried Kracauer, Theory of Film that he lives by the same code of honor as the
(Princeton, N.J.: Princeton University
Press, 1960): 58. renegade cop who stalks him.
S i e g e l | 533
 Size Specific | Lilian Tone

Q: Whydidn't you make it larger so that it by presenting oriental seals the same size as the
would loom over the observer? decorative reliefs on pillars, and amulets like
3 A: I was not making a monument. statues." Perceptually, any expression of a work's
Q: Then why didn't you make it smaller so that three-dimensionality is mitigated in reproduction;
the observercould see over the top? the work is turned into a flat image that does not
A: I was not making an object. convey the quality of its texture, the intensity of
its color, the extent of its depth, or the expressive
—Tony Smith, responding to questions about
potential of its scale. In this museum of images,
1 his six-foot steel cube. miniatures may be perceived as colossal, and the
viewer may notice details that the artist never
One knows immediatelywhat is smaller and
intended to highlight. The reverse may happen as
what is larger than himself. well: paintings intended to envelop the viewer as
2 —Robert Morris expansive fields of color when experienced in per
son might come across in books as mere color
chips. Additionally, new visual hierarchies set up
unprecedented relations: on the printed page,
The issue of scale, from the graphic components are rendered more evident,
minuscule to the massive, and the totality of the work also becomes more
has been of prime concern easily graspable. In any case, the original's rela
to many artists in the past tion to the viewer's body is negated.
decades, and it acquires re In reaction to this, the growing prevalence
newed relevance as techno of the disembodied artistic experience may have
logical media assume greater contributed to an increased interest in the ways
importance in our daily lives. in which only the real-life object can affect the
Increasingly, our access to viewer. Contemporaryartists have manipulated
works of art takes place through a world of repro scale and explored magnification and miniaturiza
ductions—inbooks, posters, postcards, and elec tion—bothwidelyemployedin digital technologies—
tronic media—radically transforming the experi as a conscious means of expression. A paradig
ence of art. Andre Malrauxpostulated the notion matic precedent is Rene Magritte's TheListening
of a "museum without walls," a collection of art Room, 1952. Followingthe devices of Surrealism,
works found not in the physical reality of the gal it induces unease by manipulating the relative size
lery but in the artificial space of the book page, of a commonplaceobject within the confines of an
subject to the laws of photography. Not surpris otherwise ordinary room. A huge apple claustro-
ingly, this change in vehicle and format has dra phobically crowdsthe depicted space in a disturb
matically altered our apprehension of artworks. ing distortion of normal dimensional relations.
Malrauxwrote that "reproduction (like the art of But in the last few decades, instead of altering
fiction, which subdues reality to the imagination) scale within the limits of the picture, artists have
has created what might be called 'fictitious' arts, generated disruptive extremes of size, not in the
by systematically falsifying the scale of objects; fictive space of the canvas but in the actual space

534 | Essays
 shared by objects and their viewers. In direct that it becomes, in the artist's words, "part of the
confrontation with the viewer's body, the object room's architecture—it's made like a wall and
proposes unexpected relationships, inducing a functions as part of a wall, like a wall on top of
heightened state of spatial awareness, a sense of and bulging out from the existent wall." An enor
uneasy familiarity, or other potentially uncanny mous brassiere made of metal lathe, Adjustable
states of mind. If Abstract Expressionism,while WallBra constitutes an entire environment, com
signaling the movement toward a more public plete with a light and sound system. Its cups are
practice, resorted to expansiveness to generate a covered with a rough coat of plaster and lined
sense of envelopment, Pop art and Minimalism with canvas, and contain the sound of steady
self-consciouslyengaged scale for very different breathing emanating from built-in speakers.
purposes. Certain emblematic examples of Pop art, Adjustable WallBra can be flexibly adapted to a
such as Claes Oldenburg's playful and outsized soft number of given architectural configurations:
versions of ice-cream cones, cakes, and common against the wall, turned away from it, pushed
place objects, and James Rosenquist's gigantic into a corner, against the wall and the floor,
images, draw their resonance from the scale of or against the wall and the ceiling; but in
mass-culture advertising, particularly as seen in all its possible incarnations, it can function
outdoor billboards and window displays. For Mini as both shelter and seat, providing a support sys
malists, scale was also a prime concern, relying tem that accommodates the viewer's body while
on the viewer's experience of concrete physical leaving the mind unsettled. "I want to put the
objects as they relate to the viewer's body, on the viewer on shaky ground, so he has to consider
one hand, and the surrounding space, on the himself and his circumstances," commented
other. As CarlAndre remarked, "I have come to Acconci.
the conclusion that perhaps the only single thing Certain contemporary artists have addressed
that art has is scale—something which has noth the issue of scale in exacting, literal ways, creat
4 ing at all do with size." ing works in a one-to-one relation with the object
Several works of contemporary art in the being represented. With varying degrees of simili
Museum's collection speak to the issue of scale in tude, these works pose as slightly twisted dupli
distinct ways, from manipulating expected dimen cates of the real. Often painstakingly manufactured,
sions to representing things in a one-to-one scale. they undermine absolute notions of true and false,
At one extreme of scale disruption, for instance, bridging the distance between the authentic and
is Robert Therrien's No Title, 1993 (plate 393). It the artificial. From Andy Warhol'sBrilloBox (Soap
consists of an oversized wood table appearing to Pads), 1964, to Jeff Koons's Baccarat CrystalSet,
emerge from the corner of a room, with only one 1986, these are works whose identities and alle
of its legs protruding from the wall. No Title's giances shift from props to doubles, stand-ins to
gigantism belies its generic appearance. Overnine facsimiles, and whose insistent theatricality often
feet high, it has a quasi-architectural impact: the tricks the viewer's perception. Although these
viewer can walk under it, look up at it, be shel works obviously share a keen affinity with Marcel
tered by it. A crucial transitional work in Ther Duchamp's Readymades,they are not unmanipu-
rien's career, No Titlemarks the use of several new lated found objects, though they may look that
practices. Fromthis point on, Therrien's work be way. Like Readymades,these works raise ques
comes larger, less abstract, and more assertively tions about where life ends and art begins, but
three-dimensional. While evoking a child's van their handcrafted aspect and artistic materials,
tage point, No Title, in fact, derives from Ther followingthe footsteps of Jasper Johns's ale cans,
rien's use of photography to register usual objects lightbulbs, and flashlights, seem to imply a desire
from unusual points of view, unhinging our cus to feed the paradox of appropriating something
tomary surroundings and de-stabilizing a once from the world while engaging the language of
familiar world. art. Ironically, they are handmade ready-mades.
Like Therrien's No Title,Vito Acconci'sAdjust Robert Gober's humorous yet often macabre
able WallBra, 1990-91 (plate 326), is so outsized incursions into domesticity have included sinks,

Tone | 535
 beds, plywood sheets, bundles of newspaper, bags dead through scale, all leveled out at the same
of kitty litter, and body parts rendered in actual height." The title, FamilyRomance, is a Freudian
size. In Cat Litter, 1989, the artist celebrates the concept related to the Oedipus complex that refers
informal nature of daily life by personally making to the fictional story that a boy tells himself to
a prosaic reminder of its everyday chores (plate reinvent his family origin, his real family replaced
263). The work may pass for the real thing from by an imagined one. The family that Ray rein
a distance, though nothing is done to disguise vented is not only bluntly sexualized (given the
the unmistakable signs of human manufacture. four mannequins' frontal nudity), but levels tradi
The lettering and other graphic elements are all tional hierarchical structures, based on age and
quirkily hand-painted on plaster, counteracting gender, within the family unit. And it does so by
any expectation of slick, industrial packaging. equating each member's stature, thereby not only
Adding a certain ambiguity to its already uncer disrupting our conventional assumptions of bal
tain artistic status, Cat Litter sits directly on the ance and parental power, but also our tendency to
floor, leaning against the wall nonchalantly, much correlate size with significance. FamilyRomance
as a bag of litter might be placed in a house. points to something that all the works mentioned
Goberhas said, "For me the kitty litter was to a above suggest, namely that scale matters, and
5 large degree a metaphor for a couple's intimacy." that it would be a blunder of considerable size
Moreillusionistic in appearance, Tom to mistake Malraux's "fictitious arts" for actual
Friedman's Untitled, 1995, shares with Cat Litter works of art.
the ability to disconcert viewers while challenging
preconceived definitions of art (plate 442).
Untitled is composed of two elements: a house
fly meticulously constructed out of plastic, hair,
fuzz, Play-doh, and wire, and a white cube made
of painted wood, built like an ordinary pedestal.
Owingto its realistic size and intricate craftsman
ship, the fly occupies a space that vastly exceeds
its size. Perched on the edge of the white cube, it
speaks of the absence of conventional sculpture.
Is this a pedestal under a sculpture of a fly, or a
minimalist sculpture on which a fly happened to
land? Reiterating Friedman's recurrent interest in
scale, process, and perception, Untitled is ulti
mately an exercise in looking that rewards intense
observation.
If perceptual double-takes are a likely response
to works like Gober's Cat Litter or Friedman's Un
titled, both of which produce a kind of three- notes
dimensional trompe Voeilin their realistic scale, 1 Quoted in Robert Morris,
Continuous Project Altered Daily:
a work like Charles Ray's FamilyRomance, 1993, The Writings of Robert Morris.
(Cambridge, Mass., and London: MIT
through an equally simple scale operation, pro Press, 1993): 11.
duces a delayed reaction of a different kind 2. Ibid.
3. Andre Malraux, "Museum without
(plate 402). As described by the artist, this work Walls," The Voices of Silence. Trans.
Stuart Gilbert). (Princeton: Princeton
is "a nuclear family, the dad is forty, the mother University Press, 1978): 24,
4 Carl Andre, [press release, April
is thirty, the son is like eight, and the daughter 12, 1973] for the exhibition Projects:
Carl Andre ("Waterbodies"), The
is four. They are all naked, holding hands, but I Museum of Modern Art, New York,
April 21-May 13, 1973.
am taking them all to the same scale, four feet 5. Richard Flood, "Robert Gober:
Special Editions, An Interview,"
three inches. So the children have come up and Print Collector's Newsletter 21, no.1

the parents have come down. . . . The politics are (March-April 1990): 9

536 | Essays
 Wednesday'sChild | Kirk Varnedoe

ontemporary C art is rife with delinquents and mall rats to the slackers and
images of childhood and ado hackers of the recent century's turn; and in the
lescence, often of an unset twentieth century's final decades, a vast body of
tling flavor. Jeff Koons's film, from Rebel Withouta Causeto The 400 Blows,
armored toys (plates 137, with Satyajit Ray's Apu trilogy before and countless
158), Laurie Simmons's doll- others after, has dealt with coming-of-age stories.
house photographs (plate A watershed was passed, though, in the 1960s,
242), Kristin Lucas's video with its youth culture in general, and with Pop art
self-dissections (plate 486), in particular. This was the decade of "Puff the
and Mona Hatoum's pipette crib (plate 414) each MagicDragon" and the cult of Tolkien's Lord of
contribute to what seems a darkling phase of mod the Rings, when it was advised not to trust anyone
ern culture's ongoing obsession with the world we over thirty, and when rejection of adult values
all leave behind us. had a serious political edge. Looking back at the
Faith in the superiority of childhood, as a time imagery of Pop—at Lichtenstein's comic-book
of uncorrupted perception and unimpeded creativ canvases and Oldenburg's giant soft ice-cream
ity, was a foundation stone of progressive aesthet cones—one is struck by its glorification of adoles
ics in the early twentieth century. But modern cent appetites, and by its special kind of subver
artists often talk about absolutes while trafficking sive utopianism. The dream of the blown-up teen
in ambiguities, and their rhetoric about infantile romance comic, and of the GoodHumor bar
purity was shadowed from the outset by their fas reimagined as a monument, was that unabashed
cination with the impure state of adolescence, amusement and clever irony (dumb and smart,
whose power to discomfit derives as much from its innocent and knowing) could join hands to turn
proximity to adult life as from its still "uncivilized" the grown-up life of high art and civic symbolism
distance. A prominent French historian, Phillipe on its head, and yield something more democratic
Aries, has argued, in fact, that the seventeenth and more fun. The apparatus of the establish
century's concern with youth, transmuted into the ment—in advertising, consumer marketing, and
nineteenth century's idealization of childhood, mass entertainment—was to be hijacked for a joy-
was supplanted in the twentieth century by the ride, and turned to anti-establishment ends.
"invention" of adolescence as a separate age. Such Pop art was first made by artists in their
Freud's speculations on children's sexuality played thirties, give or take, and its insistently upbeat
a central role in that new body of thought, blur childishness rebuked the boozy, smoky sophistica
ring the line between early and adult experience, tion of a 1950s world dominated by veterans of a
and powerfullydesanctifying the idylls of life's war these artists had been too young to fight. But
beginnings that had descended from the age of by the 1980s, a new generation—this time born
Wordsworthand the Romantics. On the broader too late to have sweated out Vietnam—in turn
level of popular culture, this focus on the special redrew the terms it had inherited. In the years of
significance of the "in-between" stage of passage Ronald Reagan and MargaretThatcher, when Pop
from child to adult—and with it a wary concern- itself had been eagerly co-opted as another selling
has continued through the worlds of juvenile device for a packaged youth culture, much of what
I 537
had passed for sharp, corrosive smartness in the In other areas, too, younger art at the end
1960s seemed foolishly naive. Artists of the late of the twentieth century became a twisted doll's
1980s and 1990s began producing an altered house. Where Pop had loved the device of enlarge
imagery of childhood, laced with a distancing cyn ment—makingthe common little thing into a
icism and fixed on the perversion of innocence. mural, a billboard, or a monument—artists now
Jeff Koons's Rabbit of 1986 (plate 158) is per often dwelled on miniaturization, as if inverting
haps the paradigmatic example of the shift. the former sense of emergent public power into
Produced by an artist then in his twenties, in the one of a more closeted sublimation. Yet the intent
year the baby-boom generation just began turning was serious. Transposing the hard world of history
forty, it has a double backward reference, both to into the pliable domain of surrogate play, whether
the polished reflectivity of Constantin Brancusi's in comic strips or in tin soldiers, provided fresh
early-modern metal sculptures and to the "soft- ways to sneak up on things as hard to confront
and-hard" transformations Oldenburghad per and as stale with convention as WorldWarII and
formed on commonplaceobjects in his sculptures the Holocaust (see Art Spiegelman's Maus: A
of the 1960s. The nose-thumbing impertinence Survivor'sTale, plate 130). And women artists,
against Brancusi's spiritual ambitions is obvious, such as Laurie Simmons and MarikoMori, con
but the chill imposed on Oldenburg's floppy, gar cerned with the way femininity gets constructed
rulous bumptiousness may be even more devastat and constrained, found in the fabrication of toy
ing. This object—no signature mass mascot like environments an appealing way to critique simul
Mickeyor Bugs, but an off-the-shelf generic taneously the myths of ideal womanhood and the
inflatable—has been transformed by its casting mechanisms by which those myths invade a little
into an uncanny, preternaturally swollen and hier- girl's awareness (plates 242, 535). In these ways
atically rigid icon of gleamingly sterilized kitsch. the languages of lightness were co-opted to do
Wildlyludicrous and icily inert all at once, this heavy lifting, small worlds encapsulated large
frozen silvered phantom of a toy subsumes the issues, and the former domains of carefree fantasy
chromed curves that were the machine age's were re-presented as sites of indoctrination.
expression of sleek optimism, and parodies them, A chilling ambiguity can be found in the
deadpan, as a hollow plastic triviality, glamorized spindly upright crib of Mona Hatoum's Silence
by the hard glint of cupidity. Innocence and the (plate 414). There, the glass tubing simultaneously
Pop valuation of raucous young appetites seem evokes and cancels early modern notions of preci
far, far away. sion and clarity (as did Koons's shiny metal),
A later, soft corollary to Koons's totem-toy mutating cuddly security into brittle vulnerability,
might be seen in the array of dolls Mike Kelley with a quietly breath-stopping sense of imminent
lays out on his crocheted afghan (plate 296) of violence. The title seems double-edged, implying a
1990. Every cue of the material and format lifelessnessutterly at odds with normal expectations
invokes the reassuring world of baby blankets of an infant, and inviting into the fragile void an
and maternal care. Yet, when the piece splays imagined cacophony of shattering and shards.
out before us on the floor, the floppy, disjointed A more literal spelling-out of the perils that
anonymity of the sewn-down dolls has the insidi impinge on defenseless childhood appears in David
ous overtones of a crime scene, and the little Wojnarowicz'sforced collision between the tow-
"bodies" on the huge field speak discomfitingly of headed image of appealing boyhood and the bit
exposure and vulnerability. The darker undercur terly disillusioned text of a fate foreseen (plate
rent fits, too, with other work by Kelley (see, for 336). As a kind of pre-imposed tombstone, the
example, plates 131, 350) and his cohort of contem work evokes promise only to snuff it, and insists,
poraries in LosAngelesin the late 1980s and 1990s, in relentless pessimism, on the crushing inevita
where a range of "bad-boy" art embraced imagery bility of the countless traps and pitfalls involved
and styles from pulp comics, and put a more funky, in coming to maturity within contemporary soci
surrealistic spin on what had been the cheerily ety. Set out in the format of a warped grade-school
philistine cartoon jokes of mainstream Pop. album—pencil-necked, grinning mug-shot sur-

538 | Essays
rounded by "personal notes" or "achievements," a sculpture that lingers under the skin. Here
Wojnarowicz'spiece plays in a somber key the enlargement and miniaturization get confounded,
same cynicismabout the disjunctions of innocence as mutant monster toddlers are leveled with their
and experience that prompted a classroom of tykes dwarfed parents, all rendered in anatomical cor
in WoodyAllen's Annie Hall to stand up one by rectness. Ray's unsettlingly specific daisy chain
one and announce their incongruous adult identi makes the beatific and the horrific, treacly bland-
ties ("I'm into leather," pipes one little ingenue). ness and obscene grotesquerie, all join hands in a
Childhoodis always threatened, of course, not dance of precocity and diminishment that pro
only from without but from within, by the drive of vokes a fused laugh and shudder as it destabilizes
physiological change that will inexorably replace the viewer's awareness of his or her own body, no
its smooth perfections with lumpy, hairy adult matter what age.
hood. Especiallyin an epoch when AIDShas refo- Even beyond the disheartening contexts of
cused an awareness of the body and its mortality, the tabloid headlines and social dilemmas of what
and touched sexuality with new associations of used to be called "the youth of our time," can we
morbidity and danger, an altered attention to the wonder that the idea of childhood—its appeal as
changeling body seemed almost ordained. In a a separate, uncorrupt land of promise, forever
curious echo, the unsettled obsession with adoles renewing its revolutionary potential for each gen
cence and the onset of sexual knowledge that per eration—shouldtake such a beating in contempo
vaded art at the previous turn of the century (in rary art? In intellectual life, it has been one of the
the work of Paul Gauguin, GeorgesMinne, Auguste conceits of our age to pride ourselves on our loss
Rodin, Egon Schiele, and many others) returned of illusions, and to count ourselves superior by
in several corners of art during the most recent virtue of a more thorough-going cynicism. Much
fin de siecle. But it was Robert Goberwho gave of the writing about art in recent decades has, in
us one of the pithiest and most disturbing tokens this spirit, trumpeted the force of new art and new
of this new sensibility, in his monstrous little thought as that of debunking and discarding the
werewolfof a child's shoe, which sprouts hair in ideals and mythologies—of autonomy, of teleol
its creepily waxen sole (plate 343). If Koons and ogy, of universality, of purity—that permeate the
Hatoum had twisted childhood's allure by render rhetoric of earlier modern art. It has become a
ing its objects in cold and alien hardness, this ritual act, for advocates of this line of criticism,
little souvenir suggests a world where even inor to recurrently wring dead whatever residual life
ganic accouterments are not safe from hormonal might be seen to remain in ideals of originality,
predation. or of escape from cultural determination. In such
The early 1990s were a period where issues of a climate, the ideals of childhood in earlier mod
repressed memory and childhood abuse surged up ern art—as blissfully pristine or subversively
in every social venue from the courtroom to con potent—were bound to age poorly.
fessional television, a new currency developed for
Freud's earlier concern with the interaction
between adults and their offspring, and for the
overlaps and collisions between unformed and
grown-up desires. Mass advertising, by selling
youth and infantilizing their elders, did its part
to confuse the dividing lines; and the recurrent
horrors of murderous suburban preteens and high-
schoolers with guns added to the anxieties in a
way that made the "delinquency" of mid-century
seem cut-and-dried by comparison. One of the
most telling images to emerge from this climate
of disequilibrium is Charles Ray's unforgettable
FamilyRomance (plate 402), a potent one-liner of
Varnedoe | 539
 1. Stanley Kubrick 31. Rainer Werner Fassbinder
The Shining. 1980. Great Britain/USA. Lili Marleen. 1981. West Germany.
35mm film, color, 146 minutes 35mm film, color, 120 minutes.
Acquired from the Rainer Werner
2. CindySherman 43. George Miller
Fassbinder Foundation
Untitled Film Still #59. 1980. Gelatin Mad Max 2 (The Road Warrior).
silver print, 6% x 91i in. (17.1 x
16. Philip Guston 32. James Welling 1981. Australia. 35mm film, color,
Untitled. 1980. Synthetic polymer Untitled #46. May 20, 1981. 94 minutes
24.1 cm). Purchase
paint and ink on board, 19%x 30 in. Gelatin silver print, 9% x 7% in.
3. CindySherman (50.5 x 76 cm). Gift of Musa Guston 44. A. R. Penck (Ralf Winkler)
(19.5 x 24.3 cm). Gift of Carole
Untitled Film Still #58. 1980. Nightvision from the portfolio First
17. Philip Guston Littlefield
/5is
7i$ Gelatin silver print, 6 x 9 in. Concentration I. 1982. Woodcut,
Untitled. 1980. Synthetic polymer 33. Bernard Tschumi comp.: 35% x 27% in. (89.8 x
(16 x 24.2 cm). Purchase
paint and ink on paper, 23 x 29 in. The Manhattan Transcripts. Episode 69.3 cm), sheet: 39% x 30% in.
4. CindySherman (58.9 x 76.2 cm). Gift of Musa 4: The Block. Project, 1976-81. Ink (100 x 78.1 cm). Publisher.
Untitled Film Still #57. 1980. Guston and photographs on vellum, four of Maximilian Verlag/Sabine Knust,
Gelatin silver print, 6%$x 9%$in. fourteen sheets, each 19 x 31 in. Munich. Printer: Atelier von Karl
(16.6 x 24.2 cm). Purchase
18. Philip Guston
Untitled. 1980. Synthetic polymer (48.2 x 78.7 cm). Purchase and par Imhof, Munich. Edition: 50. Gift of
5. Cindy Sherman paint and ink on board, 20 x 30 in. tial gift of the architect in honor of Nelson Blitz, Jr.
Untitled Film Still #56. 1980. (50.7 x 76.2 cm). Gift of Musa Lily Auchincloss
45. Andrzej Pagowski
/s
3 Gelatin silver print, 6 x 9%$in. Guston 34. Frank Gohlke Wolf's Smile (Usmiech Wilka).
(16.2 x 24.2 cm). Purchase Aerial View, Downed Forest near 1982. Poster: offset lithograph,
19. Philip Guston
6. CindySherman Untitled. 1980. Synthetic polymer Elk Rock, Approximately Ten Miles 26% x 37 in. (67 x 94 cm). Purchase
Untitled Film Still #54. 1980. paint and ink on paper, 20 x 30 in. Northwest of Mount St. Helens,
46. Vija Celmins
,3
/ie Gelatin silver print, 6 x 9%$in. (50.9 x 76.2 cm). Gift of Musa Washington. 1981. Gelatin silver
Alliance. 1982. Drypoint, mezzotint,
(17.3 x 24.2 cm). Purchase Guston print, 17%x 21% in. (45.7 x 55.8 cm).
Checklist of 7. Vito Acconci 20. Jorg Immendorff
Purchased as the gift of Shirley C.
and aquatint, plate.: 10%$x 7'/i$ in.
(25.5 x 18.9 cm) (irreg.), sheet: 24 x
Burden
Illustrations Instant Ftouse #2, Drawing. 1980.
Color inks and pencil on paper, 18 x
Cafe Deutschland (Style War). 1980.
Oil on canvas, 9 ft. 2%in. x 11 ft. 6 in. 35. Georg Baselitz
19% in. (61 x 49.2 cm). Publisher
and printer: Gemini G.E.L., Los
26 in. (46 x 66 cm). Fractional gift of (280 x 350.7 cm). Gift of Emily and Woman on the Beach. 1981. Angeles. Edition: 48. Mrs. John D.
This listing follows the Joyce Pomeroy Schwartz Jerry Spiegel Woodcut and linoleum cut, comp. Rockefeller 3rd Fund
and sheet: 31%$x 24%$in. (79.8 x
arrangement of the plate 8. Vito Acconci 21. Louis Malle 47. Werner Herzog
61.1 cm). Publisher: Maximilian
section and provides full 20 Foot Ladder for Any Size Wall. Atlantic City. 1980. Fitzcarraldo. 1982. West Germany.
Verlag/Sabine Knust, Munich.
1979-80. Photoetching on eight Canada/France/USA.35mm film, 35mm film, color, 157 minutes
citations for the works illus Printer: Elke Baselitz, Derneburg,
sheets, overall: 19 ft. 4 in. x 41 in. color, 104 minutes. Acquired from Germany. Edition: proof, before edi 48. BarbaraKruger
trated. Followingthe plate (589.3 x 104.2 cm). Publisher and Paramount Pictures tion of 50. Gift of Nelson Blitz, Jr. Untitled (You Invest in the Divinity
number and artist, the title printer: Crown Point Press, of the Masterpiece). 1982. Unique
Oakland, Calif. Edition: 15. Frances
22. Shohei Imamura 36. Georg Baselitz
and date of the work are Vengeance Is Mine. 1980. Japan. photostat, 71% x 45% in. (182.2 x
Keech Fund Drinker. 1981. Linoleum cut,
given; then the medium 35mm film, color, 128 minutes. Gift 115.8 cm), with frame 6 ft. % in. x
/i$
3
/$
13 comp. and sheet: 31' x 23 in.
9. Martin Scorsese of Janus Films 46% in. (185.6 x 118.7 cm). Acquired
and dimensions in feet and (80.8 x 60.5 cm). Publisher:
Raging Bull. 1980. 35mm film, black through an anonymous fund
inches, and centimeters (or 23. YojiYamamoto Maximilian Verlag/Sabine Knust,
and white and color, 119 minutes. Munich. Printer: Elke Baselitz, 49. Katharina Fritsch
A River. 1980. Poster: offset litho
meters); the entry concludes Acquired from United Artists Derneburg. Edition: proof, before Madonna. 1982. Two multiples of
graph, 40%ex 28% in. (103.1 x
in most cases with a credit 10. Niklaus Troxler 72.8 cm). Gift of the artist and edition of 50. Gift of Mr. and plaster with pigment, each 11'%$x
line. All works are in the McCoy/Tyner/Sextet. 1980. Poster: Japan Graphic Idea Exhibition Mrs. Philip A. Straus 3'%x 2% in. (30 x 8 x 6 cm).
offset lithograph, 50% x 35% in. Publisher and fabricator: the artist.
collection of The Museum 24. CarlosDiegues 37. Scott Burton
(128 x 90.5 cm). Leonard and Edition: unlimited. Purchased with
of Modern Art, NewYork. Bye Bye Brazil. 1980. Brazil/France. Pair of Rock Chairs. 1980-81 .
Evelyn Lauder Fund funds given by Linda Barth
35mm film, color, 110 minutes. Gneiss, in two parts: 49% x 43% x
The data vary for films and Goldstein
11. Jean-Luc Godard Acquired from Dan Talbot 40 in. (125.1 x 110.5 x 101.6 cm),
videotapes, and additional Sauve qui peut Ila vie). 1980. 44x66x42% in. (111.6 x 167.7 x 50. Krzysztof Kieslowski
25. Leon Hirszman 108 cm). Acquired through the Blind Chance. 1982. Poland. 35mm
information about publica France/Switzerland. 35mm film,
They Don't Wear Black Tie. 1981. Philip Johnson, Mr. and Mrs. film, color, 122 minutes. Acquired
color, 88 minutes. Gift of Dan Talbot
tion and manufacture is Brazil. 35mm film, color, 120 min Joseph Pulitzer, Jr., and Robert from Film Polski
included for prints, archi 12. Rainer WernerFassbinder utes. Acquired from Dan Talbot Rosenblum funds
Berlin Alexanderplatz. 1980. 51. Ingmar Bergman
tecture, and design. For West Germany. 16mm film, color,
26. Hector Babenco 38. Lee Friedlander Fanny and Alexander. 1982.
multiple works by a single Pixote. 1980. Brazil. 35mm film, Untitled. 1980. Gelatin silver print, Sweden/France/West Germany.
378 minutes
color, 127 minutes. Acquired from 18%x 12%$(47.1 x 31.5). Purchase 35mm film, color, 188 minutes
artist, see the Index of 13. Lino Brocka Dan Talbot
Illustrations. Bona. 1980. Philippines. 35mm film, 39. Lee Friedlander 52. Tina Barney
color, 83 minutes. Acquired from
27. Seiichi Furuya Untitled. 1980. Gelatin silver print, Sunday New York Times. 1982.
Graz. 1980. Gelatin silver print, 18%$x 12% in. (47.2 x 31.4 cm). The Chromogenic color print (Ektacolor),
Pierre Rissient
,5
/i6 14%x 9 in. (37.5 x 25.3 cm). Fellows of Photography Fund 47% x 60% in. (120.7 x 154.8 cm).
14. John Hejduk Gift of the Edward and Marjorie Given anonymously
A. E. Bye Plouse. Ridgefield, Goldberger Foundation 40. Lee Friedlander
Connecticut. Project, 1968-80. Untitled. 1981. Gelatin silver print, 53. Nicholas Nixon
,5
/i$ Axonometric projection, color pencil
28. Seiichi Furuya 7 x 12 in. (20.1 x 30.5 cm). Gift Chestnut Street, Louisville,
Schattendorf. 1981. Gelatin silver in honor of John Szarkowski from Kentucky. 1982. Gelatin silver print,
and sepia print, 36% x 21% in.
print, 14%x 10 in. (37.4 x 25.4 cm). the curatorial interns who worked 7"/i$ x 9'%6in. (19.5 x 24.5 cm). The
(92.1 x 53.9 cm). D. S. and R. H.
Gift of the photographer for him Family of Man Fund
Gottesman Foundation
15. Toshiyuki Kita 29. Peter Hujar 41. CindySherman 54. Judith Joy Ross
Portrait of David Wojnarowicz. Untitled #96. 1981. Chromogenic Untitled from Eurana Park,
Wink Lounge Chair. 1980.
,5
/i$ 1981. Gelatin silver print, 14 x 14 in. color print (Ektacolor), 23 x 48'/$ Weatherly, Pennsylvania. 1982.
Polyurethane foam, welded steel,
(35.6 x 35.6 cm). The Fellows of in. (61.1 x 122.1 cm). Gift of Carl D. Gelatin silver printing-out-paper
and Dacron fiber-fill, upright: 40% x
Photography Fund Lobell print, 9%x 7% in. (24.8 x 19.7 cm).
33 x 31% in. (103.2 x 83.9 x 80.3
Joseph G. Mayer Fund
cm); reclining: 24% in. x 33 in. x 6 ft. 30. Rainer Werner Fassbinder 42. Willem de Kooning
3% in. (62 x 83.9 x 192.5 cm); seat Lola. 1981. West Germany. 35mm Pirate (Untitled II). 1981. Oil on can 55. WayneWang
height: 14%in. (37.5 cm). Manufac film, color, 113 minutes. Acquired vas, 7 ft. 4 in. x 6 ft. 4% in. (223.4 x Chan Is Missing. 1982. USA. 35mm
turer: Cassina S.p.A., Italy. Gift of from the Rainer Werner Fassbinder 194.4 cm). Sidney and Flarriet Janis film, black and white, 80 minutes.
Atelier International, Ltd. Foundation Collection Fund Acquired from Dan Talbot

541
 70. Terry Jones and Terry Gilliam
Monty Python's The Meaning of
Life. 1983. Great Britain. 35mm
film, color, 103 minutes Publisher: Multiples, Inc., New York,
for Artists Call Against US Interven
71. Swatch tion in Central America. Printer:
GB 001 Watch. 1983. Plastic and 108. Hou Hsiao-hsien
Aeropress, New York. Edition: 35.
metal, '%x 1% x 9% in. (.3 x 3.5 x Summer at Grandpa's. 1984. Taiwan.
56. Barry Levinson 85. Lizzie Borden John B. Turner Fund
23.4 cm). Manufacturer: Swatch 35mm film, color, 102 minutes
Diner. 1982. USA. 35mm film, color, Born in Flames. 1983. USA. 16mm
110 minutes. Gift of Warner Bros. AG, Switzerland. Gift of the 96. Sergio Leone 109. frogdesign, company design
manufacturer film, color, 90 minutes. Acquired Once upon a Time in America.
from the artist Macintosh SE Home Computer.
57. Uwe Loesch 1984. USA/Italy. 35mm film, color,
72. Swatch 1984. ABS plastic casing, 13%x
Point (Punktum). 1982. Poster: off 86. Jorg Immendorff 227 minutes
GK 100 Jellyfish Watch. 1983. 9% x 10%in. (34.9 x 25 x 27.5 cm).
set lithograph, 33'/is x 46% in. (84 x Futurology. 1983. Linoleum cut,
119 cm). Gift of the designer Plastic and metal, % x 1% x 8% in. 97. Neil Jordan Manufacturer: Apple Computer,
/7ie comp.: 63% x 82 in. (160.6 x The Company of Wolves. 1984. California. Gift of the designer and
(.8 x 3.5 x 22.7 cm). Manufacturer:
/ie
3 58. William Wegman 209.4 cm) (irreg.), sheet: 71 x Great Britain. 35mm film, color, 96 manufacturer
Swatch AG, Switzerland. Gift of the
Blue Head. 1982. Two color instant 90 in. (180.8 x 228.7 cm). Publisher: minutes
manufacturer 110. Allan McCollum
prints (Polaroid), left: 24 x 20% in. Maximilian Verlag/Sabine Knust,
(60.9 x 52 cm), right: 24% x 20% in. 73. Bruce Nauman Munich. Printer: the artist. Edition: 8. 98. Gary Hill 40 Plaster Surrogates. 1982-84.
Human/Need/Desire. 1983. Neon Gift of Nelson Blitz, Jr. Why Do Things Get in a Muddle? Enamel on Hydro-Stone, forty pan
(62.2 x 52 cm). Gift of Mrs. Ronald
tubing, transformer, and wires, (Come on Petunia). 1984. USA. els ranging from 5 x 4% in. (12.8 x
S. Lauder 87. Mazda Motor Corporation
overall: 7 ft. 10% in. x 70% in. x Videotape, color, sound, 33 minutes 10.2 cm) to 20%x 16%in. (51.3 x
59. Paul Rand MX5 Miata Automobile Taillights. 9 seconds. Purchase 41.1 cm), overall: 64 in. x 9 ft. 2 in.
25% in. (239.8 x 179 x 65.4 cm).
IBM. 1982. Poster: offset litho 1983. Double-shot injection-molded (162.5 x 279.4 cm). Robert and
Gift of Emily and Jerry Spiegel 99. Mary Ann Toots Zynsky
graph, 36 x 24 in. (91.4 x 61 cm). acrylic resin, injection-molded Meryl Meltzer and Robert F. and
74. Joel Sternfeld polypropylene, and other materials, Bowl. 1984. Lead crystal (filet-de-
Gift of the designer Anna Marie Shapiro funds
Houston, Texas. 1983. Chromogenic 6%x 15 x 5 in. (16.5 x 38.1 x 12.7 verre), 3x11 in. (7.6 x 28 cm)
60. Ridley Scott color print, 13'/e x 17 in. (34.2 x cm). Manufacturer: Mazda Motor diameter. Emilio Ambasz Fund 111. Paul Graham
Blade Runner. 1982. USA. 35mm 43.2 cm). Purchased as the gift of Crouched Man, DHSS Waiting
Corporation, Japan. Gift of Mazda 100. Andy Warhol
film, color, 114 minutes the Joel W. Solomon Estate Room, Bristol. 1984. Chromogenic
Motor Corporation, California Rorschach. 1984. Synthetic polymer
61. Joan Fontcuberta color print (Ektacolor), 26% x 34% in.
75. Joel Sternfeld 88. Bill Viola paint on canvas, 13 ft. 8% in. x 9 ft.
Guillumeta Polymorpha. 1982. (68 x 88.1 cm). Purchased as the
Canyon Country, California. 1983. Anthem. 1983. USA. Videotape, 7 in. (417.2 x 292.1 cm). Purchase
gift of Shirley C. Burden
/e
9 Gelatin silver print, 10%x 8 in. Chromogenic color print, 13%x 17 in. color, sound, 11 minutes 30 sec 101. Anselm Kiefer
(26.6 x 21.8 cm). Robert and Joyce (34.3 x 43.2 cm). Gift of the photog 112. John Cassavetes
onds. Gift of the Friends of Jane Departure from Egypt. 1984.
Menschel Fund rapher Love Streams. 1984. USA. 35mm
Fluegel Synthetic polymer paint, charcoal,
62. Philip-Lorca diCorcia film, color, 141 minutes. Gift of the
76. Kathryn Bigelow and Monty 89. Mako Idemitsu and string on cut-and-pasted photo
Mary and Babe. 1982. Chromogenic artist and Cannon Films, Inc.
Montgomery Great Mother Part II: Yumiko. 1983. graph and cardboard, 43Vax 33% in.
color print (Ektacolor), 17% x 23% in. Breakdown (The Loveless). 1983. (109.5 x 85 cm) (irreg.). Gift of the 113. Greta Schiller and Robert
Japan. Videotape, color, sound,
(44.1 x 59 cm). Purchased as the USA. 35mm film, color, 82 minutes. Denise and Andrew Saul Fund Rosenberg
24 minutes 30 seconds. Gift of
gift of Harriette and Noel Levine Gift of Kathryn Bigelow Before Stonewall. 1984. USA.
Margot Ernst 102. Sherrie Levine
63. Paul Bartel 16mm film, black and white and
77. Edward Ruscha 90. Michael Spano Untitled (After Kasimir Malevich
color, 87 minutes. Gift of Vito Russo
Eating Raoul. 1982. USA. 35mm and Egon Schiele). 1984. Pencil and
Hollywood Is a Verb. 1983. Dry pig Photogram—Michael Spano. 1983.
film, color, 87 minutes. Gift of the watercolor on paper, four of forty 114. Martin Puryear
ment on paper, 29 x 23 in. (73.7 x Gelatin silver print, 57% x 23% in.
artist sheets, each 14x11 in. (36 x 27.9 Greed's Trophy. 1984. Steel rods
58.4 cm). Purchased with funds (145.2 x 60.8 cm) (irreg.). Robert
64. Stephen Armellino given by Agnes Gund, Mr. and Mrs. and Joyce Menschel Fund cm). Gift of Constance B. Cartwright, and wire, wood, rattan, and leather,
James Hedges IV, Ronald S. Lauder, Roger S. and Brook Behind, Marshall 12 ft. 9 in. x 20 in. x 55 in. (388.6 x
Bullet-Resistant Mask. 1983. Kevlar 91. Jonathan Borofsky
and the General Drawings Fund S. Cogan, and purchase 50.8 x 139.7 cm). David Rockefeller
and polyester resin, 11 x 6%x 3% in.
Stick Man. 1983. Lithograph, comp. Fund and purchase
(28 x 17.1 x 9.5 cm). Manufacturer: 103. David Goldblatt
78. Martin Scorsese and sheet: 52%x 37% in. (133.3 x
U.S. Armor Corporation, California. Mother and child in their home 115. Robert Ryman
The King of Comedy. 1983. 35mm 95.9 cm). Publisher and printer:
Gift of the manufacturer after the destruction of its shelter Pace. 1984. Synthetic polymer paint
film, color, 101 minutes Gemini G.E.L., Los Angeles.
65. John Canemaker Edition: 27. John B. Turner Fund by officials of the Western Cape on fiberglass on wood with alu
79. Federico Fellini Development Board, Crossroads, minum, 59%x 26 x 28 in. (151.2 x
Bottom's Dream. 1983. USA. 92. Frank Stella
And the Ship Sails On. 1983. Cape Town, 11 October 1984. 1984. 66 x 71.1 cm). Gift of anonymous
Animation eel from 35mm film,
Italy/France. 35mm film, color, Giufa, la luna, i ladrl e le guardle Gelatin silver print, 10% x 13% in. donor and gift of Ronald S. Lauder
color, 6 minutes. Gift of the artist
128 minutes from the Cones and Pillars series. (27.9 x 34.8 cm). Gift of Wm. Brian
66. John Divola 1984. Synthetic polymer paint, oil, 116. Jim Jarmusch
80. Nicholas Nixon Little Stranger Than Paradise. 1984.
Untitled. 1983. Silver dye bleach urethane enamel, fluorescent alkyd,
C.C., Boston. 1983. Gelatin silver 104. Judith Joy Ross USA/West Germany. 35mm film,
print (Cibachrome), overall: 10%x and printing ink on canvas, and
print, 7% x 9% in. (19.6 x 24.5 cm). Untitled from Portraits at the black and white, 89 minutes.
21% in. (27.8 x 55.6 cm). Purchased etched magnesium, aluminum, and
Gift of Nicholas Nixon in memory of Vietnam Veterans Memorial, Acquired from the artist
with funds given anonymously fiberglass, 9 ft. 7%in. x 16 ft. 3% in. x
Garry Winogrand Washington, D.C. 1984. Gelatin sil
24 in. (292.7 x 495.9 x 61 cm). 117. Woody Allen
67. Jannis Kounellis ver printing-out-paper print, 9% x
81. Anselm Kiefer Acquired through the James Thrall Broadway Danny Rose. 1984. USA.
Untitled. 1983. Steel beam, steel 7% in. (24.5 x 19.5 cm). Purchased
Der Rhein. 1983. Illustrated book Soby Bequest 35mm film, black and white, 84
bed-frame with propane-gas torch, as the gift of Paul F. Walter
with twenty-one woodcuts (includ minutes. Acquired from the artist
five steel shelves, smoke traces, 93. Sigmar Polke
ing front and back covers), page: 105. Aldo Rossi with Gianni
and steel panel and shelf with Watchtower. 1984. Synthetic poly 118. Jo Ann Callis
23% x 16%in. ( 59 x 42 cm). Braghieri
wood, dimensions variable, overall: mer paints, dry pigment, and oil- Woman Twirling. 1985. Silver dye
Publisher and printer: the artist.
10 ft. m in. x 17 ft. 7%in. x 16%in. stick on various fabrics, 9 ft. 10 in. x Cemetery of San Cataldo, Modena, bleach print (Cibachrome), 29% x
Edition: 10. Purchase Italy. 1971-84. Elevation study: ink
/i6
7 (333.9 x 536.5 x 41.2 cm). Sid R. 7 ft. 4% in. (300 x 224.8 cm). 36 in. (74.3 x 92.6 cm). The
Bass, Blanchette Rockefeller, and 82. Jan Groover Fractional gift of Ronald S. Lauder and pencil on paper, 7%x 29% in. Fellows of Photography Fund
The Norman and Rosita Winston Untitled. 1983. Platinum-palladium (19.7x75.2 cm). Gift of The
94. Bruce Nauman Howard Gilman Foundation 119. Robert Frank
Foundation, Inc., funds, and print, 7%x 9% in. (19 x 23.8 cm).
Crossed Stadiums. 1984. Synthetic Boston, March 20, 1985. 1985. Six
purchase Robert and Joyce Menschel Fund 106. Aldo Rossi with Gianni
polymer paint, watercolor, charcoal, color instant prints (Polaroid) with
68. Richard Prince 83. Francesco Clemente and pastel on paper, 53 x 72% in. Braghieri hand-applied paint and collage, each
Entertainers. 1982-83. Conversion to Her. 1983. Fresco of (134.7 x 184.2 cm). Gift of The Cemetery of San Cataldo, Modena, 27% x 22% in. (70.3 x 56.4 cm).
Chromogenic color print (Ektacolor), plaster on three Styrofoam and Lauder Foundation Italy. 1971-84. Aerial perspective: Purchased as the gift of Polaroid
61% x 46% in. (156.2 x 118.1 cm). fiberglass panels, overall: 8 ft. ,x 9 ft. ink and pencil on paper, 29% x Corporation
95. Claes Oldenburg
% Fractional gift of Werner and Elaine 3 in. x 2% in. (244 x 286.7 x 7 cm) 56% in. (75.8 x 142.6 cm). Gift of
Proposal for a Monument to the 120. Bernard Tschumi
Dannheisser (irreg.). Anne and Sid Bass Fund The Howard Gilman Foundation
Survival of the University of El Parede la Villette, Paris, France:
69. Woody Allen 84. Mike Leigh Salvador: Blasted Pencil (That Still 107. Su Friedrich Four Follies Intersecting North-South
Zeiig. 1983. USA. 35mm film, black Meantime. 1983. Great Britain. Writes). 1984. Etching and aquatint, The Ties That Bind. 1984. USA. Gallery. 1985. Model: acrylic and
and white and color, 79 minutes. 16mm film, color, 90 minutes. plate: 6% x 20% in. (17.7x 52.9 cm), 16mm film, black and white, 55 metal, 6%x 60 x 15%in. (16.5 x
Acquired from the artist Acquired from Gerald Rappaport sheet: 22% x 30%in. (58 x 76.8 cm). minutes. Acquired from the artist 152.4 x 38.7 cm). Gift of the architect

542 |
 146. Ellsworth Kelly
171. David Wojnarowicz
Three Panels: Orange, Dark Gray,
Fire. 1987. Synthetic polymer paint
121. Anselm Kiefer Green. 1986. Oil on canvas, left
and pasted paper on plywood, in
The Red Sea. 1984-85. Oil, lead, panel: 8 ft. 8% in. x 7 ft. 10 in.
two parts, overall: 6 x 8 ft. (182.9 x
woodcut, photograph, and shellac (265.4 x 238.7 cm), center panel:
158. Jeff Koons 243.8 cm). Gift of Agnes Gund and
on canvas, 9 ft. 1%in. x 13 ft. 7 ft. 4 in. x 8 ft. 2 in. (223.5 x
Rabbit. 1986. Stainless steel, 41% x Barbara Jakobson Fund
/b
3 11 in. (278.8 x 425.1 cm). Enid A. 248.9 cm), right panel: 8 ft. 1%in. x
19 x 117bin. (105.4 x 48.3 x 30.2
9 ft. 11%in. (247.6x303.5 cm), 172. Bruce Nauman
Haupt Fund cm). Fractional and promised gift of
overall: 9 ft. 8 in. x 34 ft. 4% in. Dirty Story. 1987. USA. Video instal
133. Willem de Kooning Mr. and Mrs. S. I. Newhouse, Jr.
122. Jasper Johns (294.6 x 1047.7 cm). Gift of lation of two %-inch videotape play
Untitled VII. 1985. Oil on canvas,
Summer. 1985. Encaustic on canvas, Douglas S. Cramer Foundation 159. Edward Ruscha ers, two 16-inch color monitors, and
70 in. x 6 ft. 8 in. (177.8x 203.2
6 ft. 3 in. x 50 in. (190.5 x 127 cm). Jumbo. 1986. Synthetic polymer two videotapes (color, sound),
cm). Purchase, and gift of Milly and 147. Larry Fink
Gift of Philip Johnson paint on canvas, 6 ft. 107bin. x 8 ft. dimensions variable. Gift of Werner
Arnold Glimcher Pearls, New York City. 1986. Gelatin
27bin. (208.6 x 249 cm). Given and Elaine Dannheisser
/s
3 123. Jean-Michel Basquiat silver print, 14 x 14% in. (36.5 x
134. John Coplans anonymously in memory of
Untitled. 1985. Color oilstick and 37.1 cm). Gift of Pauline Marks 173. Barry Levinson
Self-Portrait. 1985. Gelatin silver Nicholas Wilder: Sid R. Bass,
cut-and-pasted paper on paper, Tin Men. 1987. USA. 35mm film,
print, 18%x 177bin. (47.2 x 45.6 cm). 148. Patrick Faigenbaum Douglas S. Cramer, and Jeanne C.
41'4 x 29'A in. (105.4 x 75 cm). color, 110 minutes. Gift of Buena
Robert and Joyce Menschel Fund Massimo Family, Rome. 1986. Gel Thayer funds: and gift of The
Acquired in memory of Kevin W. Vista Pictures Distribution, Inc.
135. Lothar Baumgarten atin silver print, 19%x 19%in. Cowles Charitable Trust
Robbins through funds provided by
his family and friends and by the Untitled (Fish). 1985. Screenprint, (49.6 x 48.9 cm). Gift of the photog 174. Jeffrey Scales
160. Terry Winters
rapher and Sylviane de Decker 12:54, A. Philip Randolph Square.
Committee on Drawings comp.: 267bx 397bin. (68.2 x Folio. 1985-86. Three from a portfo
8 Heftier 1987. Gelatin silver print, 197 x 197b
100.1 cm), sheet: 31% x 45% in. lio of eleven lithographs, comp. and
124. David Salle in. (48.6 x 48.6 cm). The Family of
6 (80 x 115 cm). Publisher: the artist. 149. Eugenio Dittborn sheet, each approx. 30'Vibx 227i
Muscular Paper. 1985. Oil, synthetic Man Fund
Printer: the artist. Edition: 35. 8 Survivors. 1986. Screenprint (78 x 57 cm). Edition: 39. Printer:
polymer paint, and charcoal on can
vas and fabric, with painted wood,
Purchase (unfolded) and envelope screen- Universal Limited Art Editions. 175. Abigail Child
printed with artist's standard mail Gift of Emily Fisher Landau Mayhem. 1987. USA. 16mm film,
in three parts, overall: 8 ft. 2'/bin. x 136. Terry Gilliam
ing form and collaged documenta black and white, 19 minutes.
15 ft. 77sin. (249.3 x 475 cm). Gift Brazil. 1985. Great Britain. 35mm 161. Robert Breer
/ie
9 tion label, comp.: 75 x 57% in. Acquired from the artist
of Douglas S. Cramer Foundation film, color, 142 minutes Bang! 1986. USA. Animation eels
(192 x 146.1 cm) (irreg.), sheet 176. George Kuchar
125. Sir Norman Foster from 16mm film, color, 8 minutes
137. Jeff Koons (unfolded): 797sx 60% in. (202.9 x Creeping Crimson. 1987. USA.
Flong Kong and Shanghai Bank, Three Ball 50/50 Tank. 1985. Glass, 153.7 cm), envelope: 20'7ibx 162. Frank Gehry
Flong Kong, 1979-85. Exterior per Videotape, color, sound, 12 minutes
,5
/ib painted steel, water, plastic, and 15 in. (52.5 x40.5 cm). Fishdance Restaurant, Kobe, Japan,
spectives sketch: ink on paper, each 50 seconds. Purchase
three basketballs, 60% x 48% x Publisher: the artist. Printer: c. 1986. Sketch: ink on paper, 9 x
sheet: 16/4 x 11'Viein. (41.9 x 59.4 13%in. (154 x 123.9 x 33.6 cm). Impresos Punto Color Limitada, 12 in. (22.9 x 30.5 cm). Gift of 177. Nikita Mikhalkov
cm). Gift of the architect in honor of Fractional gift of Werner and Elaine Santiago. Edition: 4. Purchase Barbara Pine in memory of Morris Dark Eyes. 1987. Italy. 35mm film,
Philip Johnson Dannheisser Goldman color, 118 minutes. Gift of Janus
150. Bertrand Tavernier Films
126. James Herbert 138. James Casebere Round Midnight. 1986. France/USA. 163. Frank Gehry
River. 1985. USA. 16mm film, black Covered Wagons. 1985. Gelatin 35mm film, color, 133 minutes Winton Guest Flouse, Wayzata, 178. Paolo Taviani and Vittorio
and white and color, 13 minutes. silver print, 29% x 22% in. (75 x Michigan. 1983-86. Model: wood, Taviani
Gift of the artist 57.8 cm). Purchase
151. Niklaus Troxler plastic, and plaster, 11%x 24 x Good Morning Babylon. 1987.
A Tribute to the Music of Italy/France/USA. 35mm film, color,
127. Philip-Lorca diCorcia 24 in. (29.8 x 61 x 61 cm). Gift of
139. Trinh T. Minh-ha Thelonious Monk. 1986. Poster: off
Francesco. 1985. Chromogenic the architect 115 minutes. Acquired from
Naked Spaces: Living Is Round. set lithograph, 50% x 35%bin. (128 x
color print (Ektacolor), 167sx 23% in. Vestron
1985. West Africa/USA. 16mm film, 90.5 cm). Gift of the designer 164. Anish Kapoor
(41 x 59.1 cm). Purchased as the color, 135 minutes A Flower, A Drama Like Death. 179. David Hammons
gift of Harriette and Noel Levine 152. Francesco Clemente 1986. Polystyrene, plaster, cloth, Free Nelson Mandela. 1987.
140. Susan Rothenberg The Departure of the Argonaut by
128. John Schlesinger gesso, and raw pigment, in three Stencil, comp.: 20% x 23% in.
Biker. 1985. Oil on canvas, 6 ft. Alberto Savinio (Andrea de Chirico).
/3ib Untitled. 1985. Gelatin silver print, parts: 15%x 28% x 14%in. (39.4 x (52.4 x 60 cm) (irreg.), sheet: 28'
2% in. x 69 in. (188.3 x 175.2 cm). 1986. (Prints executed 1983-86).
/ib
9 51% x 35% in. (132 x 90.2 cm). The 72.4 x 36.8 cm), 22% x 44 x 22 in. x 28 in. (73.2 x 72.5 cm) (irreg.).
Fractional gift of PaineWebber Illustrated book with forty-nine pho-
Family of Man Fund (54.6 x 111.8 x 55.9 cm), 25 in. x Publisher and printer: the artist. Edi
/ie
9 Group Inc. tolithographs, page: 25 x 19"/ie in.
7 ft. 7% in. x 22% in. (63.5 x 232.9 x tion: unique. John B. Turner Fund
129. Claude Lanzmann (65 x 50 cm). Publisher: Petersburg
141. Susan Rothenberg 57.4 cm). Sid R. Bass Fund
180. Leon Golub
Shoah. 1985. France/Switzerland. Boneman. 1986. Mezzotint, plate: Press, London. Printers: plates by
16mm film transferred to 35mm, Rolf Neumann, Stuttgart: text by 165. Gaetano Pesce White Squad. 1987. Lithograph,
237bx 207ain. (60.6 x 51.2 cm)
color, 561 minutes. Acquired from Staib and Mayer, Stuttgart. Bound Feltri Chair. 1986. Wool felt, poly comp. and sheet: 29% x 41% in.
(irreg.), sheet: 30 x 207sin. (76.2 x
Dan Talbot edition: 232, unbound edition: 56. ester resin, and hemp string: cush (74.3 x 104.8 cm). Publisher: Mason
51.2 cm). Publisher and printer:
Gift of Petersburg Press ion: cotton/polyester cover with Gross School of the Arts, Rutgers
130. Art Spiegelman Gemini G.E.L., Los Angeles.
polyester padding, 557bx 297bx University, New Brunswick, N.J.
Maus: A Survivor's Tale. 1980-85. Edition: 42. John B. Turner Fund 153. James Ivory 25% in. (140 x 74 x 64 cm). Printer: Rutgers Center for
Two pages from a series of six A Room with a View. 1986. Great Innovative Print and Paper, New
142. Bill Viola Manufacturer: Cassina S.p.A., Italy.
/ie
15 artist's books, page (approx.), 8 x Britain. 35mm film, color, 115 Brunswick. Edition: 60. Gift of
I Do Not Know What It Is I Am Like. Gift of the manufacturer
6 in. (22.7 x 15.3 cm). Publisher: minutes Arnold Smoller
1986. USA. Videotape, color, sound,
RAW Books and Graphics, New 166. Janice Findley
89 minutes. Gift of Catherine 154. John Frankenheimer Beyond Kabuki. 1986. USA. 16mm 181. Christopher Wilmarth
York. Edition: 5,000-15,000. The
Meacham 52 Pick-Up. 1986. USA. 35mm film,
Museum of Modern Art/Franklin film, color, 10 minutes. Acquired Self-Portrait with Sliding Light.
color, 114 minutes 1987. Steel, bronze, and lead, 53% x
Furnace/Artist's Book Collection, 143. Shiro Kuramata from the artist
The Museum of Modem Art Library, Flow High the Moon Armchair. 155. John Baldessari 167bx 7% in. (136.2 x 42.8 x 18.4
167. Andy Warhol
New York 1986. Nickel-plated steel mesh, Untitled. 1986. Black-and-white pho cm). Gift of Susan Wilmarth
The Last Supper. 1986. Synthetic
28%x 37% x 32% in. (72.4 x 95 x tograph with colored round stickers
131. Mike Kelley polymer paint on canvas, 9 ft. 182. Alberto Meda
83.2 cm). Manufacturer: Vitra overlaid with plastic sheet with Light Light Armchair. 1987. Carbon
Exploring (from "Plato's Cave, 11%in. x 21 ft. 11%in. (302.9 x
International Ltd., Switzerland. color crayon, 9% x 7% in. (24.8 x fiber and Nomex honeycomb, 29% x
Rothko's Chapel, Lincoln's Profile"). 668.7 cm). Gift of The Andy Warhol
Gift of the manufacturer 18.7 cm). Gift of Brooke Alexander 15x19% in. (74.3 x38.3 x49.5
1985. Synthetic polymer paint on Foundation for the Visual Arts, Inc.
and of the artist cm). Manufacturer: Alias S.r.l., Italy.
paper, 6 ft. 4% in. x 64 in. (194.3 x 144. Bernhard and Anna Blume 168. Clint Eastwood
162.6 cm). Gift of the Friends of Kitchen Frenzy. 1986. Five gelatin 156. Bill Sherwood Gift of the manufacturer
Heartbreak Ridge. 1986. USA.
,5
/ie Contemporary Drawing, The silver prints, each 66 x 42% in. Parting Glances. 1986. USA. 35mm 183. Eric Fischl
35mm film, color, 130 minutes. Gift
Contemporary Arts Council, and (170 x 108 cm). Gift of the film, color, 90 minutes
of the artist and Warner Bros. Portrait of a Dog. 1987. Oil on can
The Junior Associates of The Contemporary Arts Council vas, in four parts, overall: 9 ft.
157. Louise Bourgeois 169. Oliver Stone
Museum of Modern Art Articulated Lair. 1986. Painted steel, 5 in. x 14 ft. 2% in. (287 x 433.7
145. Robert Gober Platoon. 1986. USA. 35mm film,
132. Thomas Florschuetz Untitled. 1986. Enamel paint on rubber, and metal, overall: 9 ft. 3 in. cm). Gift of the Louis and Bessie
color, 111 minutes. Gift of the artist
In Self-Defense. 1985. Two gelatin wood, cotton, wool, and down, 36% x 21 ft. 6 in. x 16 ft. 1 in. (281.7 x Adler Foundation, Inc., Seymour M.
silver prints, each 19%x 19% in. in. x 43 in. x 6 ft. 4% in. (92.7 x 655.7 x 555.6 cm). Gift of Lily Auch- 170. Stanley Kubrick Klein, President: Agnes Gund:
(49.5 x 49.8 cm). E. T. Flarmax 109.2 x 194 cm). Fractional gift of incloss, and of the artist in honor of Full Metal Jacket. 1987. USA. President's Fund Purchase (1987),
Foundation Fund Werner and Elaine Dannheisser Deborah Wye (by exchange) 35mm film, color, 116 minutes Donald B. Marron, President: Jerry I.
 Speyer; the Douglas S. Cramer
Foundation; Philip Johnson; Robert each 5%x 4% in. (14 x 10.5 cm).
and Jane Meyerhoff; Anna Marie 204. David Wojnarowicz Gift of Walter Bareiss and R. L. B.
and Robert F. Shapiro; Barbara The Weight of the Earth, Part I. Tobin
Jakobson; Gerald S. Elliott; and 1988. Fourteen gelatin silver prints, 224. Marc Newson
purchase overall: 39 x 41% in. (99.1 x 104.8 Wood Chair. 1988. Fujo wood,
cm). The Family of Man Fund overall dimensions variable. 24% x 32% x 39% in. (62 x 82 x 100
184. Tina Barney 195. Mario Merz Acquisition from the Werner
Sheila and Moya. 1987. Chromo- Places with No Street. 1987. 205. Ashley Bickerton cm). Manufacturer: Cappellini S.p.A.,
Dannheisser Testamentary Trust Italy. Gift of the manufacturer
genic color print, 30% x 38% in. Aluminum, wire mesh, stones, Tormented Self-Portrait (Susie at
(77.5 x 98.5 cm). Gift of the pho twigs, neon tubing, transformer, and Aries). 1987-88. Synthetic polymer 214. Ilya Kabakov 225. Gregory Crewdson
tographer and Janet Borden wires, dimensions variable, muse paint, bronze powder, and lacquer The Man Who Flew Into His Picture Untitled from the series Natural
%
3 um installation, 6 ft. 6 in. x 21 ft. x on wood, anodized aluminum, from the Ten Characters series.
185. Jac Leirner Wonder. 1988. Chromogenic color
28 ft. (200 x 640.5 x 854 cm). Sid rubber, plastic, Formica, leather, 1981-88. Room installation of paint
Lung. 1987. 1,200 Marlboro ciga print (Ektacolor), 26% x 37% in.
R. Bass and Enid A. Plaupt funds chrome-plated steel, and canvas, ed drywall, composition board, and
rette packages strung on a poly- (67 x 95.9 cm). Purchased as a gift
%
3 7 ft. 5% in. x 68 in. x 15 in. painted Homasote, containing
urethane cord, dimensions variable,
196. Office for Metropolitan of Barbara Jakobson
(227.1 x 174.5 x 40 cm). Purchase enamel paint on composition board,
length ranges from 14 ft. 5% in.
Architecture (Rem Koolhaas,
Gotz Keller, Willem-Jan 206. Zeke Berman ink and color graphite on paper, 226. Adam Fuss
(440 cm) to 15 ft. 9 in. (480 cm). photographs, watercolor on paper, Untitled. 1988. Gelatin silver print,
Neutelings, with Brigitte Kochta, Untitled. 1988. Gelatin silver print,
David Rockefeller Fund for Latin- painted wood doors, wood chair, 547bx 497,6in. (139.4 x 124.6 cm).
Martin Kohn, Luc Reuse, Ron 27%. x 39% in. (70 x 100.1 cm). The
American Art and Brazil Fund painted wood shelf, and painted Polaroid Foundation Fund
Steiner, Jeroen Thomas, and Fellows of Photography Fund
186. Tony Cragg Graciella Torre) electric lightbulb, dimensions vari 227. Nic Nicosia
207. Morphosis (Thom Mayne
Oersted Sapphire. 1987. Cast alu City Flail Competition, the Flague, able, museum installation 8 ft. 8% Real Pictures ft 77. 1988. Gelatin
and Kim Groves)
minum, in six parts: large beaker: the Netherlands. 1987. Perspective: in. x 24 ft. 6 in. x 17 ft. 3 in. (265.4 silver print, 6 ft. 7 in. x 48% in.
6th Street House Project, Santa
7 ft. 6 in. x 41 in. x 41 in. (228.5 x charcoal on paper, 62 x 81 in. x 746.8 x 525.8 cm). Gift of Marcia (200.7 x 122.9 cm). E. T. Harmax
Monica, California. 1987-88. Silk-
104 x 104 cm); small beaker: 50% x (157.5 x 205.7 cm). Purchase Riklis, Jerry I. Speyer Fund, and Foundation Fund
screen and metal foil on paper, 40 x
20% x 20% in. (129 x 51.5 x 51.5 Michael and Judy Ovitz Fund
197. Wolfgang Laib 30 in. (101.6 x 76.2 cm). Given 228. Paul Thek
cm); round beaker: 22 x 31% x 37% The Passageway. 1988. Beeswax, anonymously 215. Stephen Peart and Bradford The Soul Is the Need for the Spirit.
in. (55.8 x 54.5 x 94.6 cm); long test wood construction, with two elec Bissell
208. Richard Artschwager 1988. Synthetic polymer paint on
tube: 7%x 48% x 7% in. (19.1 x tric light bulbs, exterior dimensions "Animal" Wet Suit. 1988. Molded
Double Sitting. 1988. Synthetic newspaper, 22 x 27 in. (55.9 x
123.1 x 18.2 cm); short test tube: variable, interior dimensions, 10 ft. neoprene, thermoplastic elastomer,
polymer paint on composition board 69.9 cm). Purchased with funds
8% x 387sx 8 in. (21 x 98.6 x 20.3 11% in. x 6 ft. 1%in. x 18 ft. 9% in. nylon jersey, and Derlin zipper,
/s
5 and Formica, 6 ft. 3 in. x 677sin. given by The Judith Rothschild
cm); curved test tube: 8% in. x 6 ft. (333.6 x 186.6x 572.1 cm). dimensions variable. Manufacturer:
(192 x 172.3 cm), including painted Foundation
8% in. x 43% in. (22.2 x 204.5 x Committee on Painting and O'Neill, Inc., California. Gift of the
wood frame. Fractional and
110.5 cm); overall: approx. 7 ft. Sculpture Funds
promised gift of Agnes Gund designers 229. Pedro Almodovar
6 in. x 18 ft. 10 in. x 11 ft. 1 in. Women on the Verge of a Nervous
198. Bernd and Hilla Becher 209. Mike and Doug Starn 216. Jeff Koons
(228.5 x 574.1 x 337.8 cm). Breakdown. 1988. Spain. 35mm
Water Towers. 1988. Nine gelatin Pink Panther. 1988. Porcelain, 41 x
Fractional gift of Werner and Elaine Double Rembrandt with Steps. film, color, 98 minutes
,5
/,e silver prints, each 15 x 127bin. 20% x 19 in. (104.1 x 52.1 x 48.2
Dannheisser 1987-88. Toned gelatin silver prints,
(40.5 x 30.8 cm), overall: 67'7,6 x cm). Fractional gift of Werner and 230. Cindy Sherman
ortho film, wood, adhesive, and
187. Frank Gehry 55% in. (172 x 140 cm). Fractional
Plexiglas, 42% x 42% in. (108 x Elaine Dannheisser Untitled ttl 97. 1989. Chromogenic
Bubbles Lounge Chair. 1987. Gift of Werner and Elaine color print (Ektacolor), 317,6x 20'7,6
108 cm). Gift of Barbara and 217. Giinter Forg
Corrugated cardboard with fire- Dannheisser in. (78.9 x 53.2 cm). Purchase
Eugene Schwartz Stairway. 1988. Gelatin silver print,
retardant coating, 35 x 28% x 73 in.
199. Steven Holl with Bryan 707sx 47% in. (180 x 120 cm). Gift 231. Marlon Riggs
(89 x 72.5 x 185.5 cm). Manufac 210. Gerhard Richter
Bell, Stephen Cassell, Pier Copat, October 18, 1977. 1988. Five of fif of Robert F. and Anna Marie Shapiro Tongues Untied. 1989. USA.
turer: New City Editions, California.
and Peter Lynch. Videotape, color, sound, 55 min
Kenneth Walker Fund teen paintings, oil on canvas, instal 218. Tony Oursler and Constance
American Memorial Library, Berlin, utes. Purchase
lation variable. Shown: Funeral DeJong
188. Andy Warhol Germany. Project, 1988. Model:
%
3 (Beerdigung), 6 ft. 6 in. x 10 ft. Joyride. 1988. USA. Videotape, 232. Martin Scorsese
Camouflage. 1987. Portfolio of eight concrete, wood, paper, pigment,
6 in. (200 x 320 cm); Cell (Zelle), color, sound, 14 minutes 23 sec The Last Temptation of Christ.
screenprints, comp. and sheet: each and steel, 10%x 48 x 24 in. (26 x
6 ft. 7 in. x 55 in. (201 x 140 cm); onds. Purchase 1989. USA/Canada.35mm film,
//i6
5
,5i6 37' x 37 in. (96.5 x 96.5 cm). 121.9 x 61 cm). Given anonymously
Hanged (Erhangte), 6 ft. 7 in. x color, 164 minutes
Publisher: the artist. Printer: Rupert and David Rockefeller, Jr., Purchase
55 in. (201 x 140 cm); Youth Portrait
219. Julie Zando
Jason Smith, New York. Edition: 80. Fund Let's Play Prisoners. 1988. USA. 233. Richard Sapper and Sam
(Jugendbildnis), 28% x 24% (72.4 x
John B. Turner Fund.
200. Jean-Luc Godard 62 cm), Record Player (Plattenspieler),
Videotape, black and white, sound, Lucente
22 minutes. Purchase Leapfrog Computer. 1989. Carbon-
189. Nathaniel Dorsky Puissance de la parole. 1988. 24% x 32% in. (62 x 83 cm). The
fiber-reinforced plastic, magnesium
Alaya. 1976-87. USA. 16mm film, France/Switzerland. Videotape, Sidney and Harriet Janis Collection, 220. Louise Lawler
gift of Philip Johnson, and acquired alloy, ABS, and other materials,
color, silent, 27 minutes (18 frames color, 25 minutes. Acquired from Does Andy Warhol Make You Cry?
1%x 10%x 13%in. (3.8 x 27 x 35 cm).
per second). Acquired from the artist France Telecom through the Lillie P. Bliss Bequest (all 1988. Silver dye bleach print
Manufacturer: IBM Corporation,
/ie
9 by exchange); Enid A. Haupt Fund; (Cibachrome), 27 x 39% in. (70 x
190. Mary Lucier 201. Christian Boltanski New York. Gift of the manufacturer
Nina and Gordon Bunshaft Bequest 100 cm), with a Plexiglas wall label
Ohio at Giverny: Memory of Light. The Storehouse (La Grande
/,6
6 Fund; and gift of Emily Rauh Pulitzer (not shown), 4 x 6%6 in. (10.2 x 234. Thomas Ruff
1987. USA/France. Videotape, color, Reserve). 1988. Seven photog
15.1 cm). Gift of Gabriella de Ferrari Portrait. 1989. Chromogenic color
sound, 25 minutes. Gift of the raphs, seven electric lamps, and 211. Lawrence Charles Weiner
in honor of Karen Davidson print (Ektacolor), 477,6x 22% in.
Jerome Foundation 192 tin biscuit-boxes containing Rocks upon the Beach/Sand upon
(119.6 x 57.5 cm). The Fellows of
cloth fragments, overall: 6 ft. 117s the Rocks. 1988. Paint on wall, 221. Roy Lichtenstein
191. Anish Kapoor Photography Fund
in. x 12 ft. 4 in. x 8% in. (211.2 x dimensions variable. Acquisition Bauhaus Stairway. 1988. Oil and
Untitled (Red Leaf). 1987. Gouache
375.8 x 21.6 cm). Jerry I. Speyer, from the Werner Dannheisser synthetic polymer paint (Magna) on 235. EdinVelez
%
3 and pencil on paper, 13 x 12%in.
Mr. and Mrs. Gifford Phillips, Testamentary Trust canvas, 7 ft. 10 in. x 66 in. (238.8 x Dance of Darkness. 1989. USA.
(35 x 31.1 cm). Gift of Patricia and
Barbara Jakobson, and Arnold A. 167.7 cm). Gift of Dorothy and Roy Videotape, color, sound, 54 minutes
Morris Orden and an anonymous 212. Clint Eastwood
Saltzman funds, and purchase Lichtenstein 57 seconds. Gift of the Jerome
donor Bird. 1988. USA. 35mm film, color,
Foundation
202. Allen Ruppersberg 161 minutes. Gift of the artist and 222. Matt Mullican
192. John Huston
Preview. 1988. Series of ten litho Warner Bros. Untitled. 1988. Portfolio of fifteen 236. Carroll Dunham
The Dead. 1987. USA. 35mm film,
/3
6%
,66 graphs, comp.: each 21 x 13 in. etchings (twelve with aquatint and Shadows. 1989. Two from a portfo
color, 83 minutes. Acquired from 213. Bruce Nauman
(54.1 x 33.5 cm), sheet: each 227,6x one with photogravure) and one lio of ten drypoints, plate and sheet:
Vestron Learned Helplessness in Rats (Rock
/3i6
I3
/,b 13' in. (56.1 x 35.1 cm). Publisher aquatint, plate: each 21% x 14%in. each approx. 15%x 22 in. (39.3 x
and Roll Drummer). 1988. USA.
193. John Boorman and printer: Landfall Press, Chicago. (54.6 x 36.8 cm), sheet: each 227,6x 58 cm). Publisher and printer:
Video installation of Plexiglas maze,
Hope and Glory. 1987. Great Britain. Edition: 30. John B. Turner Fund 157bin. (56 x 38.4 cm). Publisher: Universal Limited Art Editions, West
closed-circuit video camera, scanner
35mm film, color, 113 minutes Carl Solway Gallery, Cincinnati. Islip, N.Y. Edition: 14. Gift of Emily
203. Tadanori Yokoo and mount, switcher, two videotape
Printer: Mark Patsfall Graphics, Fisher Landau
194. Aleksandr Askoldov Japanese Society for the Rights of players, 13-in. color monitor, 9-in.
Cincinnati. Edition: 64. Purchase
The Commissar. 1967-87. Soviet Authors, Composers, and Publish black-and-white monitor, video pro 237. Tadanori Yokoo
Union. 35mm film, black and white, ers. 1988. Poster: screenprint, jector, and two videotapes (color, 223. Martin Kippenberger Fancydance. 1989. Poster: offset
110 minutes. Acquired from Gerald 40% x 28% in. (102.8 x 72.5 cm). sound); maze: 22 in. x 10 ft. 6 in. x The World of the Canary. 1988. lithograph, 40% x 28% in. (102.8 x
Rappaport Gift of the designer 10 ft. 10 in. (55.9 x 320 x 330.2 cm); Pencil on paper, four of 156 sheets, 72.5 cm). Gift of the designer

544 |
 double-sided lithograph, comp.
(unfolded): 20 x 28 in. (50.8 x 71.1
cm), sheet (unfolded): 22%x 30% in.
(56.5 x 76.8 cm). Publisher: The wood and paper, 13 ft. 10%in. x
Print Club, Philadelphia. Printer: 7 ft. 2 in. (422.9 x 218.5 cm). Given
Corridor Press, Philadelphia. Edition: anonymously and David Rockefeller, 281. Brice Marden
238. Elizabeth Diller and 16"/ie x 20%e in. (42.4 x 52.3 cm). Jr., Purchase Fund Cold Mountain Series, Zen Study 3
100. John B. Turner Fund
Ricardo Scofidio The Family of Man Fund (Early State). 1990. Aquatint, plate:
%6
3 250. John Woo 273. Christopher Wool 20"%6x 27 in. (52.6 x 69 cm),
Slow House, Long Island, New 262. Steina Vasulka
The Killer. 1989. Hong Kong. 35mm Untitled. 1990. Enamel on alu
York. 1989. Model: wood, card sheet: 27Vk x 35% in. (69.7 x 89.8
In the Land of the Elevator Girls. minum, 9 x 6 ft. (274.3 x 182.9 cm).
film, color, 110 minutes cm). Publisher: the artist. Printer:
board, metal, plastic and twine, 1989. Japan. Videotape, color, Gift of the Louis and Bessie Adler
12 x 60 x 30% in. (30.5 x 152.5 x 251. Ida Applebroog Jennifer Melby, New York.
sound, 4 minutes. Purchase Foundation, Inc.
77 cm). Marshall Cogan Purchase Chronic Hollow. 1989. Oil on six Edition: 3. Purchase
Fund, Bertha and Isaac Liberman canvases, overall: 7 ft. 10%in. x
263. Robert Gober 274. Martin Kippenberger
Cat Litter. 1989. Plaster, ink, and
282. Thomas Struth
Foundation Fund 9 ft. 8% in. (240 x 295 cm). Ac Martin, Stand in the Corner and Be
latex paint, 17 x 8 x 5 in. (43.2 x Pantheon, Rome. 1990. Chromo
quired with matching funds from Ashamed of Yourself. 1990. Cast
239. Rafael Vinoly 20.3 x 12.7 cm). Edition: 2/7. genic color print, 54% x 6 ft. 4% in.
The Millstream Fund and the aluminum, clothing, and iron plate,
Tokyo International Forum, Tokyo, Acquisition from the Werner (137.5.x 194 cm). Fractional gift of
National Endowment for the Arts, 71%x 29%x 13% in. (181.6 x 74.9 x
Japan. 1989. East elevation of the Dannheisser Testamentary Trust Werner and Elaine Dannheisser
and purchase 34.3 cm). Blanchette Hooker
ater structures: crayon and graphite Rockefeller Fund Bequest; Anna 283. Thomas Struth
% on tracing paper, 12 x 313 in. 252. Peggy Ahwesh 264. Thomas Schiitte
Untitled. 1989. Watercolor, ink, Marie and Robert F. Shapiro, Jerry I. South Lake Apartments 3, Chicago.
/ie
5 (30.5 x 80.6 cm). Gift of the architect Martina's Playhouse. 1989. USA. Speyer, and Michael and Judy Ovitz 1990. Gelatin silver print, 18 x
gouache, and pencil on paper.
240. Bruce Nauman Super-8mm film, color, 20 minutes. funds 22% in. (46.5 x 56.8 cm).
Seven watercolors, each 12%x 9%
Model for Animal Pyramid II. 1989. Acquired from the artist Anonymous Purchase Fund
in. (31.7 x 23.8 cm). Purchase 275. John Barnard
Cut-and-taped photographs, 7 ft. 6% 253. Shiro Kuramata 284. Thomas Struth
265. Tadao Ando Formula 1 Racing Car 641/2. 1990.
in. x 60% in. (229.9 x 152.8 cm). Miss Blanche Chair. 1989. Paper South Lake Apartments 4, Chicago.
Church of the Light, Ibaraki, Osaka, Various materials, 40% in. x 7 ft. x
,5
%6 Gift of Agnes Gund and Ronald S. flowers, acrylic resin, and alu 1990. Gelatin silver print, 17 x
Japan. 1984-89. Plan: lithograph 14 ft. 8%in. (102.8x 213.5 x 448.4 cm).
Lauder minum, 36% x 24% x 20% in. (93.7 x
with color pencil, 40 x 28 in. Manufacturer: Ferrari S.p.A., Italy. 22% in. (45.5 x 57.5 cm).
241. Gilbert and George 63.2 x 52 cm). Manufacturer: Gift of the manufacturer Anonymous Purchase Fund
(101.6 x 71.12 cm). Gift of the
Down to Earth. 1989. Fifteen black- Ishimaru Co., Japan. Gift of Agnes
architect in honor of Philip Johnson 276. Gary Hill 285. Arata Isozaki
and-white photographs, hand colored Gund in honor of Patricia Phelps de
Cisneros 266. Tadao Ando Inasmuch As It Is Always Already City in the Air: "Ruin of Hiroshima."
with ink and dyes, mounted and
3
% Church of the Light, Ibaraki, Osaka, Taking Place. 1990. Video/sound Project, 1990. Silkscreen, 34 in. x
%
3 framed, each 29 x 25 in. (74.9 x 254. Edward Ruscha
Japan. 1984-89. Interior perspec installation of 16 black-and-white 9 ft. 9 in. (88.3 x 297 cm). Gift of
63 cm), overall: 7 ft. 4%in. x 10 ft. 5 That Is Right and Other Similarities.
tive: color pencil on note paper, 10% video monitors (all cathode-ray the architect in honor of Philip
in. (224.8 x 317.5 cm). Fractionalgift 1989. Portfolio of twelve litho
in. x 7% in. (25.7 x 18.1 cm). Gift of tubes are removed from chassis Johnson
of Werner and Elaine Dannheisser graphs, comp.: each approx. 5'/ex
the architect in honor of Philip and extended with wires), 16 laser
6% in. (13.1 x 17.5 cm), sheet: each 286. Arata Isozaki
242. Laurie Simmons Johnson disc players, one audio mixer, and
approx. 9%6 x 11 in. (23 x 28 cm). City in the Air: "Incubation
Walking House. 1989. Gelatin silver two speakers, recessed in a wall
Publisher: the artist. Printer: Edward 267. Tadao Ando Process." Project, 1990. Silkscreen,
print, 83% x 47% in. (211.4 x 120.4 42 in. (106.7 cm) from the floor,
Hamilton, Los Angeles. Edition: 30. Church of the Light, Ibaraki, Osaka, 41 x 34% in. (104.2 x 87.4 cm). Gift
cm). Richard E. and Christie overall: 16 x 53%x 68 in. (40.6 x
Gift of Jeanne C. Thayer and Japan. 1984-89. Model: wood, 7% x of the architect in honor of Philip
Salomon Fund and The Family of 136.5 x 172.7 cm). Gift of Agnes
%
3 purchase 17 x 7 in. (18.1 x 45.2 x .6 cm). Johnson
Man Fund Gund, Marcia Riklis, Barbara Wise,
Gift of the architect in honor of and Margot Ernst; and purchase 287. David Hammons
243. David Levinthal 255. Jose Leonilson
Philip Johnson African-American Flag. 1990. Dyed
Untitled from the series Cowboys. To Make Your Soul Close to Me. 277. General Idea (AA Bronson,
1989. Watercolor and ink on paper, 268. James Lee Byars cotton, 56 in. x 7 ft. 4 in. (142.2 x
1989. Color instant print (Polaroid), Felix Partz, Jorge Zontal)
12%x 9% in. (31.9 x 23.9 cm). Gift The Table of Perfect. 1989. Gold 223.5 cm). Gift of The Over Holland
24 x 19%in. (61 x 49.6 cm) (irreg ). AIDS projects. 1988-90. AIDS
of the artist's estate leaf on white marble, 39% x 39% x Foundation
The Fellows of Photography Fund (Stamps) for the journal Parkett 15.
and Anonymous Purchase Fund 39% in. (99.7 x 99.7 x 99.7 cm). Photolithograph, comp. and sheet: 288. David Hammons
256. Sadie Benning
Committee on Painting and 10x8% in. (25.4 x 21 cm). Edition: High Falutin'. 1990. Metal (some
244. Oliver Stone Me and Rubyfruit. 1989. USA.
Sculpture Funds 200. Purchased with funds given by parts painted with oil), oil on wood,
Born on the Fourth of July. 1989. Videotape made with Pixelvision
USA. 35mm film, color, 145 min camera, black and white, sound, 269. Steven Holl Linda Barth Goldstein. AIDS (Lottery glass, rubber, velvet, plastic, and
utes. Gift of the artist and Universal 4 minutes. Purchase Nexus World Kashii, Fukuoka, Ticket). 1989. Photolithograph on electric light bulbs, overall: 13 ft.
/%
3 Pictures Japan. 1989. Exterior perspective of four sheets, each 4 x 6% in. 2 in. x 48 in. x 30% in. (396 x 122 x
257. Marc Newson (10.6 x 16.2 cm). Edition: unlimited. 77.5 cm). Robert and Meryl Meltzer
housing: watercolor and graphite on
245. Spike Lee Orgone Chaise Longue. 1989. Gift of A. A. Bronson. AIDS (Adhe Fund and purchase
paper, 22 x 30 in. (55.9 x 76.2 cm).
Do the Flight Thing. 1989. USA. FibergJass,19"/i6x 29%x 70% in.
Gift of the architect in honor of Lily sive-backed Label). 1990. Photolith
35mm film, color, 120 minutes (50 x 75 x 180 cm). Manufacturer: 289. Richard Prince
/ie
5 Auchincloss ograph, sheet, 6 x 6 in. (16 x
Cappellini S.p.A., Italy. Gift of the Untitled. 1984 and 1990. Silkscreen,
246. Chris Killip 16 cm). Edition: unlimited. Gift of
manufacturer 270. James Turrell graphite, and spray paint on paper,
Untitled. 1989. Gelatin silver print, A. A. Bronson. AIDS (Project for
First Light, Series C. 1989-90. 40 x 26 in. (101.5 x 66 cm). Gift of
22'Vi«x 18'/i6in. (57.6 x 46.8 cm). 258. Joan Jonas Ohio Dentist). 1988. Photolithograph,
Series of four aquatints, plate: each the Robert Lehman Foundation, Inc.
The Family of Man Fund Volcano Saga. 1989. USA. page 10%x 8%in. (27.6 x 20.9 cm).
39%6x 27% in. (99.3 x 69.3 cm),
Videotape, color, sound, 28 min Edition: unlimited. Gift of A. A. 290. Joel Sternfeld
,3
/ie 247. Office for Metropolitan sheet: each approx. 42% x 29 in.
utes. Purchase Bronson An Attorney with Laundry, Bank and
Architecture (Elizabeth Alford, (107.7 x 75.8 cm). Publisher: Peter
Fourth, New York, New York. 1990.
Xaveer de Geyter, Rem Koolhaas, 259. Giuseppe Penone Blum Edition, New York. Printer: 278. Lari Pittman
Chromogenic color print, 42% x 33%
Winy Maas, and Ray Maggiore) Thirty-Three Herbs. 1989. Four from Peter Kneubuhler, Zurich. Edition: Counting to Welcome One's
in. (107.9 x 85.1 cm). The Family of
National Library of France (Tres a portfolio of thirty-three lithographs 30. Gift of Peter Blum Edition Defrosting. 1990. Synthetic polymer
Man Fund
Grande Bibliotheque), Paris. Project, and photolithographs, comp: various paint and enamel on paper, 30 x 22
271. Joel Shapiro
1989. Model: plaster, aluminum and dimensions, sheet: each 16%x 11% in. (76.2 x 55.9 cm). Gift of Hudson 291. Yvonne Rainer
Untitled. 1989-90. Bronze, 8 ft.
wood. 41 x 29%x 33% in. (104.1 x in. (41.9 x 29.5 cm). Printer and Privilege. 1990. USA. 16mm film,
3% in. x 69% in. x 30 in. (253.5 x 279. Akira Kurosawa
74.9 x 85 cm). Frederieke Taylor publisher: Marco Noire Editore, black and white and color, 103 min
176.5 x 76.2 cm). Edition: 4/4. Sid Dreams. 1990. Japan/USA. 35mm
Purchase Fund Turin. Edition: 150. Frances Keech utes. Acquired from the artist and
R. Bass Fund; gift of Jeanne C. film, color, 119 minutes
Fund Zeitgeist Films
248. Kazuo Kawasaki Thayer, Anna Marie and Robert F.
280. Brice Marden
Carna Wheelchair. 1989. Titanium, 260. Gundula Schulze Shapiro, Agnes Gund, and William L. 292. Kiki Smith
Cold Mountain Series, Zen Study 1
rubber, and honeycomb-core alu Dresden. 1989. Chromogenic color Bernhard; President's Fund Pur A Man. 1990. Printed ink on torn
(Early State). 1990. Etching and
minum, 33 x 22 x 35% in. (84 x 56 x print (Ektacolor), 24% x 15%in. (61.6 chase (1990), Donald B. Marron, and pasted handmade paper. 6 ft.
/%
3 aquatint, plate: 20"/ie x 27 in.
89.6 cm). Manufacturer: SIG x 39.4 cm). The Family of Man Fund President; Jerry I. Speyer Fund; and 6 in. x 16 ft. 8 in. (198.1 x 508 cm).
(52.6 x 69.1 cm), sheet: 27% x
Workshop Co. Ltd., Japan. Gift of Emily and Jerry Spiegel Fund Gift of Patricia and Morris Orden
261. Martin Parr 35% in. (69.5 x 89.6 cm). Publisher:
the designer 272. Steven Holl the artist. Printer: Jennifer Melby, 293. Kiki Smith
Midsummer Madness, Conservative
249. Art Spiegelman Party Social Event. 1986-89. "Edge of a City" ParallaxTowers, New York. Edition: 3. Linda Barth Untitled. 1987-90. Twelve silvered
Lead Pipe Sunday. 1989. Folded Chromogenic color print (Ektacolor), New York. Project, 1990. Model: Goldstein Fund glass water bottles arranged in a

I 545
 cellophane-wrapped candies, end
303. Jim Nutt lessly replenished supply, ideal
Drawing for Fret. 1990. Graphite on weight 1,000 lbs., dimensions vari
paper, 13 x 13 in. (33 x 33 cm). able, museum installation, 2 in. x
Purchased with funds given by 12 ft. 4 in. x 20 ft. 4 in. (5 x 375.9 x
row, each bottle 20% in. (52.1 cm) Richard E. Salomon 619.9 cm). Gift of Elisa and Barry
high x 11%in. (29.2 cm) diameter at 35mm film, color, 114 minutes. Stevens laminated maple, 32% x 30% x 31%
304. Stephen Frears Gift of Kino International
widest point. Gift of the Louis and The Grifters. 1990. USA. 35mm in. (85 x 71.1 x 67.4 cm). Manufac
330. Felix Gonzalez-Torres
Bessie Adler Foundation, Inc. film, color, 113 minutes 318. Toyo Ito turer: The Knoll Group, New York.
"Untitled. " 1991. Printed billboard,
Shimosuma Municipal Museum, Gift of the designer and the
294. Elizabeth Murray 305. Neil Winokur dimensions variable, museum
Shomosuma-machi, Nagano manufacturer
Her Story by Anne Waldman. 1990. Glass of Water. 1990. Silver dye installation 10 ft. 5 in. x 22 ft. 8 in.
Prefecture, Japan. 1991. Model:
(Prints executed 1988-90). Two bleach print (Cibachrome), 40 x 30 (317.5 x 690.9 cm). Gift of Werner 342. Brice Marden
Plexiglas, aluminum, and lightbulb,
plates from the illustrated book of in. (101.6 x 76.2 cm). Anonymous and Elaine Dannheisser Rain. 1991. Black and color ink on
2%x 47% x 23% in. (5.7 x 120 x
thirteen etching and photolitho- Purchase Fund paper, 25% x 34% in. (65.4 x 87.2
60.2 cm). Gift of the architect 331. Tejo Remy
/8
7 graphs, page: 1114x 8 in. (28.5 x cm). Gift of The Edward John Noble
306. Chris Killip 319. Warren Sonbert "You Can't Lay Down Your
22.5 cm). Publisher and printer: Foundation, Inc., and Ronald S.
Untitled. 1990. Gelatin silver print, Short Fuse. 1991. USA. 16mm film, Memory" Chest of Drawers. 1991.
Universal Limited Art Editions, West Lauder
,3
/ie 22 x 18%in. (57.9 x 47 cm). The color, 37 minutes. Acquired from Metal, paper, plastic, burlap, contact
Islip, N.Y. Edition: 74. Gift of Emily
Fisher Landau Family of Man Fund the artist paper, and paint, 55% x 53 x 20 in. 343. Robert Gober
(141 x 134.6 x 50.8 cm). Untitled. 1992. Wax and human
295. Elizabeth Murray 307. Francis Ford Coppola 320. Ernie Gehr Manufacturer: Tejo Remy. hair, shoe: 3 x 2% x TVsin. (7.6 x
Dis Pair. 1989-90. Oil and synthetic The Godfather, Part III. 1990. USA. Side/Walk/Shuttle. 1991. USA. Frederieke Taylor Purchase Fund 6.7 x 19.1 cm). Edition: 7/15. Gift of
polymer paint on two canvases and 35mm film, color, 161 minutes 16mm film, color, 41 minutes. Gift the Dannheisser Foundation
wood, overall: 10 ft. 2% in. x 10 ft. of the artist 332. Enzo Mari
308. Martin Scorsese Flores Box. 1991. Thermoplastic 344. Robert Gober
9'/, in. x 13 in. (331.3 x 328.3 x 33 GoodFellas. 1990. USA. 35mm 321. Annette Lemieux polymer, 3%8x 11%x 6 in. (7.8 x Untitled. 1991. Wax, cotton, leather,
cm). Gift of Marcia Riklis, Arthur film, color, 146 minutes Stolen Faces. 1991. Photolithograph 29.9 x 15.2 cm). Manufacturer: human hair, wood, and steel, 12%x
Fleischer, and Anna Marie and
309. Toshiyuki Kita printed on three sheets, overall: Danese S.r.l., Italy. Gift of the 35%x 9% in. (31.8 x 90.2 x 23.5 cm).
/,6
3 Robert F. Shapiro; Blanchette 30 in. x 7 ft. 4 in. (76.7 x 223.5
The Multilingual Chair. 1991. manufacturer Robert and Meryl Meltzer Fund,
Rockefeller Fund; and purchase cm). Publisher: I. C. Editions, New
Fiberglass and steel, 52%x 23% x Anna Marie and Robert F. Shapiro
296. Mike Kelley York. Printer: Trestle Editions, New 333. Abelardo Morell Fund, The Norman and Rosita
23% in. (125.8 x 460 x 444.6 cm).
Untitled. 1990. Found afghans and York. Edition: 26. Purchased with Light Bulb. 1991. Gelatin silver Winston Foundation, Inc., Fund,
Manufacturer: Kotobuki
stuffed dolls, overall: 6 in. x 20 ft. funds given by Howard B. Johnson print, 18 x 22%6in. (45.5 x 56.5 cm). The Millstream Fund, and Jerry I.
Corporation, Japan. Gift of the
5 in. x 52 in. (15.3x 622.3 x 132.1cm); Purchased with funds given by Speyer Fund
manufacturer 322. Oliver Stone
length of dolls: 25 in. (63.5 cm), 15 in. Marian and James Cohen in memo
310. Annette Messager JFK. 1991. USA. 35mm film, black ry of their son Michael Harrison 345. Robert Gober
(38.1 Cm), 16 in. (40.6 cm), 9 in.
My Vows. 1988-91. Photographs, and white and color, 188 minutes. Cohen Untitled. 1992. Toned gelatin silver
(22.7 cm). Gift of the Louis and Gift of the artist
color graphite on paper, string, print, 16%x 12% in. (42.5 x 32.1 cm).
Bessie Adler Foundation, Inc., and 334. Zaha M. Hadid
glass, black tape, and pushpins 323. Tom Dixon Gift of Werner and Elaine
purchase Hong Kong Peak Competition, Hong
over black paper or black synthetic S-Chair. 1991. Straw and metal, Dannheisser
297. John Cage Kong. 1991. Exterior perspective:
/s
3 polymer paint, dimensions vari 39 x 20%x 16%in. (100 x 52 x 42 346. Robert Gober
Wild Edible Drawing No. 8. 1990. acrylic on paper mounted on can
able, museum installation 11 ft. cm). Manufacturer: Cappellini S.p.A., Newspaper. 1992. Multiple of a
Milkweed, cattail, saffron, poke- vas, 51 x 72 in. (129.5 x 183 cm).
8% in. x 6 ft. 6% in. (356.2 x 200 Italy. Gift of the manufacturer bundle of photolithographs, tied
weed, and hijiki pressed onto paper, David Rockefeller, Jr., Fund
cm). Gift of the Norton Family with twine, from a series of twenty-
17 x 12 in. (43 x 30.5 cm). Gift of Foundation 324. Dieter Appelt 335. Glenn Ligon
The Field. 1991. Thirty gelatin silver two, 6 x 16%x 13%in. (15.3 x 42.5 x
Sarah-Ann and Werner H. Untitled (How it feels to be colored
311. Peter Eisenman prints, each 19%x 14%in. (49.5 x 33.6 cm). Publisher: the artist.
Kramarsky me. . . Doubled). 1991. Oilstick on
Alteka Tower, Tokyo. Project, 1991. 36.2 cm). Joel and Anne Ehrenkranz Printer: Derriere L'Etoile, New York.
298. Bruce Conner Model: wood, acrylic, color tape, paper, 31% x 16 in. (80 x 41 cm). Edition: 10. Gift of The Associates
Fund, John Parkinson III Fund, and
INKBLOT DRAWING. 1990. Ink on 14%x 12%8x 9% in. (36.3 x 30.8 x Gift of The Bohen Foundation of the Department of Prints and
The Fellows of Photography Fund
folded paper with circular paper 24.2 cm). Gift of the architect in 336. David Wojnarowicz Illustrated Books in honor of
cutouts, 22%x 30% in. (57.2 x 76.5 honor of Philip Johnson 325. Jean-Michel Othoniel Deborah Wye
Untitled. 1990-91. Photostat,
cm). Purchased with funds given The Forbidden. 1991. Sulfur print
/i6
5 312. John O'Reilly comp.: 27' x 37 3/16 in. (70.9 x 347. Cindy Sherman
by Sarah-Ann and Werner H. with oil additions, plate: 63%,x 38%
War Series #34: PFC USMC Killed 94.4 cm) (irreg.), sheet: 32 x 41 in. Untitled #250. 1992. Chromogenic
/3,s Kramarsky in. (161 x 98.4 cm), sheet: 65 x
(81.3 x 104.2 cm). Publisher: the
/3
3/8s in Action, Gilbert Islands, 1943, Age 42 in. (165.5 x 108 cm). Publisher color print, 49 x 74% in. (125.5 x
299. Office for Metropolitan 23. 1991. Collage of black-and- artist. Printer: Giant Photo, New 189.2 cm). Gift of Werner and
and printer: Centre genevois de
Architecture (Elizabeth Alford, white instant prints (Polaroids), York. Edition: 10. Purchased in part Elaine Dannheisser
gravure contemporaine, Geneva.
Xaveer de Geyter, Rem Koolhaas, 10"/,e x 16%in. (27.2 x 41.3 cm). with funds from Linda Barth
Edition: 5. Joanne M. Stem Fund 348. Janine Antoni
Winy Maas, and Ray Maggiore) Geraldine J. Murphy Fund Goldstein and Art Matters Inc.
326. Vito Acconci Gnaw. 1992. 600 lbs. of chocolate
Palm Bay Seafront Hotel and
313. Boris Mihailov Adjustable Wall Bra. 1990-91. Plas 337. Allen Ruppersberg before biting; 600 lbs. of lard before
Convention Center, Florida. Project,
Untitled from the series U Zemli ter, steel, canvas, electrical lightbulbs, Remainders: Novel, Sculpture, Film. biting; phenylethylamine; 45 heart
1990. Model: plaster, aluminum,
(On the Ground). 1991. Gelatin sil and audio equipment, installation 1991. Books, cardboard, and oak, shaped packages made from
/3e and goldplate, 5% x 27% x 27 in.
/b
7
/,6
l3 ver print, 4 x 11% in. (12.2 x 28.9 variable, each cup 7 ft. 3 in. x 7 ft. overall: 45 x 47% x 29 in. (114.4 x chewed chocolate removed from
(14.3 x 69.6 x 69.6 cm). Gift of the
cm). Anonymous Purchase Fund 10%in. x 37 in. (221 x 240 x 94 cm). 120.6 x 75.9 cm). Given anony Chocolate Gnaw; 400 lipsticks
architects in honor of Philip Johnson
Sid R. Bass Fund and purchase mously made from pigment, beeswax and
300. Felix Gonzalez-Torres 314. Boris Mihailov chewed lard removed from Lard
Untitled from the series U Zemli 327. Felix Gonzalez-Torres 338. Raymond Pettibon
"Untitled" (Death by Gun). 1990. Gnaw; display cabinet, dimensions
(On the Ground). 1991. Gelatin sil "Untitled" (Perfect Lovers). 1991. No Title (Filling In So ... ). 1991.
Nine-inch stack of photolithographs, variable. Purchase
ver print, 5x11 "/is in. (12.7 x 29.7 Two clocks, each 14 in. (35.6 cm) Black and color inks on paper, 13%x
comp.: 44%x 32%in. (113 x 82.5 cm),
/s
3 cm). Anonymous Purchase Fund diameter x 2% in. (5.7 cm) deep, 10 in. (34.2 x 26.3 cm). Gift of the 349. Paul McCarthy
,5
/i6
,s
/,s sheet: 44 x 32 in. (114.1 x
overall dimensions variable, muse Friends of Contemporary Drawing Sketchbook "Heidi." 1992.
83.6 cm). Printer: Register Litho, 315. Boris Mihailov um installation, 14 x 28 x 2% in. Illustrated book with nine screen-
New York. Edition: unlimited. Pur Untitled from the series U Zemli 339. Raymond Pettibon
(35.6 x 71.1 x 5.7 cm). Gift of the prints and corrugated-cardboard
chased in part with funds from Arthur (On the Ground). 1991. Gelatin sil Dannheisser Foundation No Title (Under My Thumb). 1991.
/is
5 cover, page: 22 x 14' in. (56 x
/3b Fleischer,Jr., and Linda Barth Goldstein ver print, 5 x 11"/,ein. (13.6 x 29.7 Ink and wash on paper, 18 x 12 in.
328. Felix Gonzalez-Torres 37.9 cm). Edition: 50. Publisher:
cm). Anonymous Purchase Fund (45.7 x 30.5 cm). Gift of the Friends
301. Agnieszka Holland "Untitled" (Supreme Majority). Galerie Krinzinger, Vienna. Printer:
of Contemporary Drawing
Europa Europa. 1990. 316. Shimon Attie 1991. Paper, in seven parts, dimen Edition Schilcher, Graz, Austria.
Germany/France. 35mm film, color, Almstadtstrasse43, Berlin,1991(1930). sions variable, overall: approx. 61 x 340. Christopher Wool John B. Turner Fund
113 minutes 1991. Chromogenic color print 40 x 36 in. (154.9 x 100.6 x 91.4 Untitled. 1991. Alkyd paint stamped
350. Paul McCarthy and Mike
,5
6
/, (Ektacolor), 17 x 22% in. (45.6 x cm). Fractional gift of Werner and on paper, 52 x 40 in. (132.2 x 101.6
302. Zhang Yimou and Yang Kelley
56.4 cm). The Family of Man Fund Elaine Dannheisser cm). Gift of Charles B. Benenson
Fengliang Heidi. 1992. USA. Videotape, color,
Ju Dou. 1990. China/Japan. 35mm 317. Julie Dash 329. Felix Gonzalez-Torres 341. Frank Gehry sound, 62 minutes 40 seconds.
film, color, 95 minutes Daughters of the Dust. 1991. USA. "Untitled" (Placebo). 1991. Silver- Cross Check Armchair. 1991. Bent- Purchase

546 |
 394. Derek Jarman
375. Donald T. Chadwick and Blue. 1993. Great Britain. 35mm
351. Roy Lichtenstein
William Stumpf film, color, 79 minutes
Interior with Mobile. 1992. Oil and
synthetic polymer paint (Magna) on Aeron Office Chair. 1992. Glass- 395. Fernando Campana and
canvas, 10 ft. 10 in. x 14 ft. 3 in. reinforced polyester and die-cast Humberto Campana
(330.2 x 434.4 cm). Enid A. Haupt aluminum (structure), Hytrel poly Straus Foundation, Howard B. Vermelha Chair. 1993. Iron with
Fund; gift of Agnes Gund, Ronald S. mer, polyester, and Lycra (pellicle), Johnson, Mr. and Mrs. Herbert D. epoxy coating, aluminum, and cord,
363. Jose Leonilson
Lauder, Michael and Judy Ovitz in 43V x 27 x 19 in. (110.5 x 68.6 x Schimmel, and the Riva Castleman 33% x 22% x 29% in. (86 x 58 x 74
1Am Your Man. 1992. Watercolor
48.3 cm). Manufacturer: Herman Endowment Fund cm). Manufacturer: Edra Mazzei,
honor of Roy and Dorothy Lichten and ink on paper, 9 x 12 in. (22.8 x
Miller, Inc., Michigan. Gift of the
stein, and Anna Marie and Robert F. 30.5 cm). Gift of the Friends of 386. Glenn Ligon Italy. Gift of Patricia Phelps de
manufacturer
Shapiro Contemporary Drawing Runaways. 1993. Four from a series Cisneros
352. Christopher Connell 364. Louise Bourgeois 376. Neil M. Denari of ten lithographs, comp.: each 396. Antonio Citterio and Glen
Prototype Architecture School, approx. 10%x 8'% in. (27.3 x 22.7 Oliver Low
Pepe Chair. 1992. Thermoplastic Ste Sebastienne. 1992. Drypoint,
Wilshire Boulevard, Los Angeles, cm), sheet: each 15'% x 11'Viein. Mobil Container System. 1993.
polymer, 51% x 20 x 24 in. (131.5 x plate: 38"% x 30% in. (98.9 x 78.4
California. Project, 1992. (40.6 x 30.4 cm). Publisher: Max Bulk-dyed thermoplastic polymer
50.8 x 61 cm). Manufacturer: MAP cm), sheet: 47V x 37 in. (120.6 x 94
Perspectives: ink, airbrush, and Protetch, New York. Printer: Perry and chrome- or aluminum-colored
(Merchants of Australian Products cm). Publisher: Peter Blum Edition,
Pantone on Mylar, 2414x 34V in. Tymeson, New York. Edition: 45. steel, two units: 38V x 19% x % in.
Pty., Ltd.), Australia. Gift of the New York. Printer: Harlan & Weaver
(61.3 x 87.6 cm). Rolf Fehlbaum The Ralph E. Shikes Fund (97.8 x 49.2 x 47.6 cm), and 21% x
manufacturer Intaglio, New York. Edition: unique.
Purchase Fund 19V x 18V in. (54.9 x 49.5 x 47 cm).
Gift of the artist 387. Rosemarie Trockel
353. Ben Faydherbe Manufacturer: Kartell S.p.A., Italy.
365. Rody Graumans 377. Simon Patterson What It Is Like to Be What YouAre
Festival in the Hague (Wout de
The Great Bear. 1992. Lithograph, Not. 1993. Portfolio of eight pho Gift of the manufacturer
Vringer). 1992. Poster: offset litho 85 Lamps Lighting Fixture. 1992.
comp. (including frame): 52%x 42% togravures and one photolithograph 397. Jean Nouvel
graph, 46V x 33 in. (118.2 x 83.8 Light bulbs, standard cords, and
x 2 in. (134 x 108.6 x 5.1 cm). Cartier Foundation for
cm). Gift of the designer through sockets, 31V in. (100 cm) diameter. and screenprint, photogravure plates:
Publisher: the artist. Printer: Poster Contemporary Art. 1992-93.
the Netherlands Design Institute Manufacturer: DMD, the various, sheet: each 22% x 17V in.
Print Limited, London. Edition: 50. Elevation: serigraphed drawings on
Netherlands. Patricia Phelps de (57.5 x 44.5 cm); photolithograph and
354. Ingo Maurer Frances Keech Fund Plexiglas, 19% x 35V x 5/6 in. (49.8 x
Cisneros Purchase Fund screenprint, comp.: 19%x 13% in.
Lucellino Wall Lamp. 1992. Glass, 378. Chris Burden 90.2 x 1.7 cm). Gift of the architect
366. Christopher Bucklow (49.9 x 33.8 cm) (irreg.), sheet: 19%x
brass, plastic, arid goose-feathers, Medusa's Head. 1989-92. Plywood, in honor of Philip Johnson.
14,000 Solar Images; 1:23 P.M., 13"% in. (49.9 x 34.8 cm). Publisher:
4%x 8 x 12!4 in. (11.5x20.3x31.1 steel, cement, rock, five gauges of
13th June 1992. 1992. Gelatin Helga Maria Klosterfelde Edition, 398. Rachel Whiteread
cm). Manufacturer: Ingo Maurer model railroad track, seven scale-
Hamburg. Printer: photogravure by Untitled (Room). 1993. Plaster, 8 ft.
/ie
9 GmbH, Germany. Gift of the designer silver print, 13 x 15% in. (34.5 x model trains, diameter 14 ft. (426.7
Niels Borch Jensen, Copenhagen; 10% in. x 9 ft. 10 in. x 11 ft. 5% in.
39.7 cm). E. T. Harmax Foundation cm). Purchase
355. Guillermo Kuitca screenprint by Thomas Sanmann, (271.5 x 299.8 x 350 cm). Robert
Fund and Meryl Meltzer, Anna Marie and
Untitled. 1992. Mixed mediums on 379. Clint Eastwood Hamburg; photolithograph by
canvas, 8 ft. 4V in. x 6 ft. 1% in. 367. Terence Davies Unforgiven. 1992. USA. 35mm film, Robert F. Shapiro, Emily and Jerry
Ulla Pensolin, Hamburg. Edition: 9.
(255.7 x 186.1 cm). Gift of Patricia The Long Day Closes. 1992. Great Spiegel, The Norman and Rosita
color, 130 minutes. Gift of the artist Carol O. Selle Fund
Phelps de Cisneros in memory of Britain. 35mm film, color, 85 min Winston Foundation, Inc., and
and Warner Bros.
utes. Gift of the artist and Three 388. Brice Marden Barbara Jakobson funds
Thomas Ammann
River Films 380. Clint Eastwood Vine. 1992-93. Oil on linen, 8 ft. x 399. Ian Hamilton Finlay
356. Willie Cole A Perfect World. 1993. USA. 35mm 8 ft. 6V in. (243.8 x 260.3 cm).
368. Sigmar Polke Artist's book and cards. 1986-93.
Domestic I.D., IV. 1992. Iron scorch film, color, 137 minutes. Gift of the Fractional gift of Werner and Elaine
The Goat Wagon. 1992. Synthetic LTdylle des Cerises. 1986. Artist's
and pencil on paper mounted in artist and Warner Bros. Dannheisser
polymer paint on printed fabric, 7 ft. book, lithograph with Michael
recycled painted-wood window-
%
3 2 in. x 9 ft. 10 in. (218.4 x 299.7 381. Reiko Sudo 389. Herzog & de Meuron Harvey, page: 5' x 8% in. (14.8 x
frame, comp. (including frame): 35 x
cm). Gift of Werner and Elaine Jellyfish Fabric. 1993. Screenprinted Architects 20.6 cm). Gift of Gabriella de
32 x 1% in. (88.9 x 81.3 x 3.5 cm).
Dannheisser and flash-heated polyester, 34 in. x Facade panel from the Ricola Ferrari. Abraham at Santa Clara.
Printer and fabricator: the artist.
20 ft. 11 in. (86.4 x 637.5 cm). Europe Factory and Storage 1991. Accordion-folded card, litho
Edition: unique. Purchased with 369. Philip-Lorca diCorcia Manufacturer: Nuno Corporation, Building. 1993. Architectural frag graph with Gary Hincks, overall:
funds given by Agnes Gund Marilyn: 28 years old. Las Vegas, Japan; also Kimura Senko Co., Ltd., ment: silkscreen on acrylic, framed 7% x 11V in. (20 x 29 cm). Walter
357. Arata Isozaki Nevada; $30. 1990-92. Chromo Japan. Gift of the manufacturer Bareiss Fund. An 18th Century Line
in aluminum, 78% x 80V x 1% in.
Convention Hall, Nara, Japan. 1992. genic color print (Ektacolor), 25% x on a Watering Can. 1993. Folded
382. Helen Chadwick (200 x 203.2 x 4.2 cm). Gift of the
Exterior perspective: computer- 37'% in. (64 x 96.5 cm). E. T. card, lithograph with Michael
architects in honor of Philip Johnson
generated print, 24V x 404 in. Harmax Foundation Fund Number 11 from the series Bad
Harvey, overall: 4'% x 16V in.
(62.2 x 102.9 cm). Gift of the artist Blooms. 1992-93. Silver dye bleach 390. Herzog & de Meuron
370. Juan Sanchez (12.6 x 41.9 cm). Walter Bareiss
print (Cibachrome), 35V in. (90.2 Architects
358. Richard Serra For don Pedro. 1992. Lithograph Fund. A Model of Order. 1993.
cm) diameter. Gift of Barbara Ricola Europe Factory and Storage
Intersection II. 1992. Cor-Tensteel, and photolithograph, with oilstick Card, lithograph with Gary Hincks,
Foshay-Miller and Christie Calder Building. 1993. Model: wood, ply
four plates, each 13 ft. 1V in. x 55 ft. additions and collage, comp.: 22% x sheet: 7% x % in. (18.7 x 8.7 cm),
Salomon wood, black paint, silkscreen, and
9% in. x 2 in. (400 x 1700 x 5 cm). 30 in. (56.4 x 76.2 cm), sheet: comp. 7% x 3% in. (17.9 x 7.8 cm).
polycarbonate, 9% x 53% x 53% in.
Gift of Ronald S. Lauder 22% x 30 in. (56.4 x 76.2 cm). 383. Chris Marker Walter Bareiss Fund. Publisher and
(23 x 135.7 x 135.4 cm). Gift of the
Publisher and printer: Tamarind The Last Bolshevik (Le Tombeau printer: Wild Hawthorn Press, Little
359. Peter Campus architects in honor of Philip Johnson
Institute, Albuquerque. Edition: 22. d'Alexandre). 1993. France. Video Sparta,Scotland.Editions:approx.250.
Burning. 1992. Chromogenic color tape, black and white and color, 391. Ellsworth Kelly
The Ralph E. Shikes Fund 400. Martin Scorsese
%
5 print, 39' x 50% in. (101.4 x sound, 116 minutes. Gift of the artist Red-Orange Panel with Curve.
128 cm). Gift of Paul F.Walter in 371. Raymond Pettibon The Age of Innocence. USA. 1993.
1993. Oil on canvas, 8 ft. 8 in. x 7 ft.
memory of Mark Kaminski No Title (The Sketch Is). 1992. Pen 384. Zacharias Kunuk 35mm film, color, 136 minutes. Gift
3V in. (269.4 x 222.5 cm). Gift of
and ink on paper, 11%x 7V in. (28.9 Saputi. 1993. Canada. Videotape, of Columbia Pictures
360. Rudolf Bonvie the Committee on Painting and
x 19 cm). Gift of the Friends of color, sound, 30 minutes
Imaginary Picture I. 1992. Gelatin Sculpture in honor of Richard E. 401. Ximena Cuevas
Contemporary Drawing 30 seconds. Gift of Margot Ernst
silver print, 344 in. x 8 ft. 11% in. Oldenburg Bleeding Heart. 1993. Mexico.
(87 x 298 cm). The Fellows of 372. Rosemarie Trockel 385. Anselm Kiefer Videotape, color, sound, 5 minutes.
392. Roni Horn Gift of the Mexican Cultural
Photography Fund Untitled. 1992. Ink on paper, 13%x Grane. 1980-93. Woodcut with
How Dickinson Stayed Home. 1993.
13%in. (35 x 35 cm). Purchased paint additions on thirteen sheets of Institute
361. Santiago Calatrava Plastic and aluminum, dimensions
with funds given by Agnes Gund paper, mounted on linen, 91% x
Alamillo Bridge and Cartuga variable, museum installation, 5 in. x 402. Charles Ray
82V (227.1 x 250.3 cm) (irreg ).
Viaduct, Seville, Spain. 1987-92. 373. Mark Steinmetz 23 ft. x 16 ft. (12.7 x 701.5 x 488 Family Romance. 1993. Mixed
Printer: the artist. Edition: unique.
Model: acrylic and mirror glass, 34 in. Knoxville. 1992. Gelatin silver print, cm). Gift of Agnes Gund mediums, 53 in. x 7 ft. 1 in. x 11 in.
Purchased with funds given in
x 8 ft. 8 in. x 24V in. (86.3 x 264.2 x 11'% x 1714in. (30.3 x 43.5 cm). (134.6 x 215.9 x 27.9 cm). Gift of
honor of Riva Castleman by the 393. Robert Therrien The Norton Family Foundation
62.3 cm). Gift of the architect Anonymous Purchase Fund
Committee on Painting and No Title. 1993. Painted wood, brass,
362. Santiago Calatrava 374. Gabriel Orozco Sculpture, the Associates of the and steel, 9 ft. 5V in. x 10 ft. 10 in. x 403. Rirkrit Tiravanija
Alamillo Bridge and Cartuga Maria, Maria, Maria. 1992. Erased Department of Prints and Illustrated 9 ft. 1V in. (288.4 x 330.2 x 278.3 Untitled Iapron and Thai pork
Viaduct, Seville, Spain. 1987-92. telephone-book page, 11 x 914in. Books, Molly and Walter Bareiss, cm). Ruth and Seymour Klein sausage). 1993. Multiple of brown-
Elevations: contd crayon on tracing (27.9 x 23.2 cm). Gift of Patricia Nelson Blitz, Jr., with Catherine Foundation, Inc., Fund and Robert paper apron with string, tape, decal,
paper, approx. 17 x 53V in. (43.2 x Phelps de Cisneros and the David Woodard and Perri and Allie Blitz, B. and Emilie W. Betts Foundation and Xeroxed recipe, apron: 41% x
135.9 cm). Gift of the architect Rockefeller Latin American Fund Agnes Gund, The Philip and Lynn Fund 28'% in. (104.7 x 71.3 cm) (irreg.).

I 547
 Publisher: Brain Multiples, Santa 423. Richard Artschwager Friends of Education of The
Monica. Printer: the artist. Edition: Five untitled works. 1994. Wood Museum of Modern Art
25. Purchased with funds given by and metal. From left to right: 26%
Linda Barth Goldstein in. x 7 ft. 6% in. x 22% in. (67.4 x 440. Louise Bourgeois
230 x 57.2 cm); 29% x 32% x 42 in. Ode a ma mere. 1995. Illustrated
404. Cheryl Donegan book, four (frontispiece and three
Head. 1993. USA. Videotape, color, (74.9 x 82.6 x 106.6 cm); 13 ft. 2 in. x
50 in. x 36 in. (401.6 x 127 x 91.5 plates) of nine drypoints, one with
sound, 2 minutes 49 seconds. Gift computers, overall: 11 ft. 6 in. x 32 titled, compact disc insert for the
cm); 46 x 13%x 16%in. (117 x 34.4 x roulette, plates: various dimensions,
of Susan Jacoby ft. 10 in. x 32 ft. 10 in. (3.5 x 10.8 x rock band Consolidated. 1994.
41.3 cm); 6 ft. 8 irj, x 29 in. x 12%in. page: 1178x 117sin. (30.2 x 30.2 cm).
10.8 m). Gift of Canon, Inc. Comp. and sheet, 4'%6x 4% in.
405. Jos van der Meulen (203.2 x 73.8 x 31.6 cm). Gift of Publisher: Editions du Solstice,
(11.9 x 12.1 cm). Publisher: London
Paper Bags Wastebaskets. 1993. 416. Bill Viola Agnes Gund and Anna Marie and Paris. Printers: plates by Harlan &
Records, New York. Purchase.
Paper (unused billboard posters), Stations. 1994. USA. Video installa Robert F. Shapiro Fund Weaver Intaglio, New York; text by
I Shop Therefore I Am. 1990.
dimensions: 35%x 27% in. (90 x tion with five laser discs and play PIUF, Paris. Edition: 125. Gift of the
424. Uta Barth Multiple of paper bag, with pho-
70 cm); 20% x 13% in. (60 x 35 cm); ers, five projectors, five cloth artist
Ground #35. 1994. Chromogenic tolithograph and letterpress, 17%x
and 15%x 10 in. (40 x 25 cm). screens, five granite slabs, and 441. Marcel Wanders
,5
%6 color print (Ektacolor), 177iex 20 10%x 4%6in. (43.9 27.3 x 10.7 cm).
Manufacturer: Goods, the sound system in a 70 x 30 ft. (21.3 x Knotted Chair. 1995. Carbon and
in. (44.3 x 53.3 cm). E. T. Harmax Publisher: Kolnischer Kunstverein,
Netherlands. Gift of the 9.1 m) room. Gift of the Bohen aramid fibers, epoxy, 29% x 19%x
Foundation Fund Cologne. Edition: 9,000. Gift of
Manufacturer Foundation in honor of Richard E. 25% in. (75 x 50 x 65 cm).
Kolnischer Kunstverein. Untitled
406. Nam June Paik Oldenburg 425. CyTwombly (matchbooks). 1986. Four of seven Manufacturer: Marcel Wanders for
The Four Seasons: Autumn, Winter, multiples of matchbooks, various Droog Design, the Netherlands. Gift
Untitled. 1993. Player piano, fifteen 417. Jenny Holzer
Spring, and Summer. 1993-94. dimensions. Publisher: Rhona of the Peter Norton Family
televisions, two cameras, two laser Truisms projects. 1980-94. Abuse
Synthetic polymer paint, oil, pencil, Hoffman Gallery and David Meitus, Foundation
discs and two players, one electric of Power Comes As No Surprise
and crayon on canvas: Autumn, 10 Chicago. Editions: each approx.
light and light bulb, and wires, over and Raise Boys and Girls the Same 442. Tom Friedman
ft. 3% in. x 6 ft. 2% in. (313.7 x 189 1,000. My Pretty Pony by Stephen
all: approx. 8 ft. 4 in. x 8 ft. 9 in. x Way. 1980-94. Two cotton T-shirts, Untitled. 1995. Plastic, hair, fuzz,
cm); Winter, 10 ft. 3% in. x 6 ft. 27s King. 1988. Illustrated book with
48 in. (254 x 266.7 x 121.9 cm). from a series of six multiples, Play-doh, wire, paint, and wood,
in. (313 x 190.1 cm); Spring, 10 ft. nine lithographs, eight screenprints,
Bernhill Fund, Gerald S. Elliot Fund, screenprinted, various dimensions. 24%x 24 x 24 in. (61.5 x 61 x 61 cm).
37bin. x 6 ft. 27sin. (312.5 x 190 page 20 x 13%in. 50.9 x 34.3 cm).
gift of Margot Paul Ernst, and pur Printer: Artisan Silkscreen, New An anonymous fund
cm); and Summer (1994): 10 ft. 3% Publisher: Library Fellows of the
chase York. Protect Me from What I Want in. x 6 ft. 77bin. (314.5 x 201 cm). Whitney Museum of American Art, 443. Peter Halley
407. Hal Hartley from the series Survival Caps. 1980. Gift of the artist New York. Edition: 250. The Exploding Cell Wallpaper. 1995.
Amateur. 1994. USA/Great One of three multiples of caps, with Series of nine screenprints on
426. Philippe Starck Associates Fund in honor of Riva
Britain/France. 35mm film, color, embroidered text. Manufacturer: newsprint, printed from digital files,
Jim Nature Portable Television. Castleman
105 minutes. Gift of the artist Uniforms to You, Chicago. Money sheet, each 36% x 457s(92.1 x
1994. High-density wood and plas 433. Louise Bourgeois
Creates Taste and Torture Is 116.5 cm). Printer: Fine Art Printing,
/3ib
9 408. Quentin Tarantino tic, 15 x 4 x 14%in. (38.5 x 37 x Fenelon. 1994. Spray paint, blue
Barbaric from the series Truisms New York. Edition: unlimited.
Pulp Fiction. 1994. USA. 35mm 37.5 cm). Manufacturer: Thomson
Golfballs. Two of six multiples of ballpoint pen, and pencil on jigsaw John B. Turner Fund and Howard B.
film, color, 154 minutes. Gift of Consumer Electronics, France. Gift
colored golfballs, printed in letter puzzle, 8%x 11%in. (22.2 x 29.8 cm). Johnson Fund
Miramax Films of the manufacturer
press. Manufacturer: Eastern Golf Gift of Sarah-Ann and Werner H.
409. Lorna Simpson Corp., Hamlin, Pa. Action Causes 427. Rineke Dijkstra Kramarsky and an anonymous 444. Toba Khedoori
Wigs (Portfolio). 1994. Portfolio of Tia,Amsterdam, the Netherlands, donor Untitled (Doors). 1995. Oil and wax
More Trouble Than Thought, At
thirty-eight lithographs on felt, over on three sheets of paper, overall:
Times Inactivity is Preferable to 14 November 1994. Tia, 434. Bob Evans
all: 6 ft. x 13 ft. 6 in. (182.9 x 411.5 11 ft. x 19 ft. 6 in. (335.3 x 594.4
Mindless Functioning, and Private Amsterdam, the Netherlands, 23 Tan Delta Force Fin. 1994. Liquid-
cm). Publisher: Rhona Ploffman cm). Gift of Lenore S. and Bernard
Property Creates Crime from the June 1994. 1994. Two chromogenic cast heat-cured Uniroyal flexible
Gallery, Chicago. Printer: 21 Steps, Greenberg
/n
,s series Truisms Pencils. 1994. Three color prints, each 15%x 11 in. polyurethane, 17 x 11%x 4% in.
Albuquerque. Edition: 15. of eight multiples of pencils, printed (40 x 30 cm). Gift of Agnes Gund 445. Ellen Gallagher
(43.2 x 28.6 x 10.8 cm).
Purchased with funds given by Oh! Susanna. 1995. Oil and pencil
in letterpress. Publisher: the artist. 428. Marlene Dumas Manufacturer: Bob Evans Designs,
Agnes Gund, Floward B. Johnson, on paper collage on canvas, 10 x 8 ft.
Editions: unlimited. Gifts of the Chlorosis. 1994. Ink, gouache, and Inc., California. Gift of the manufac
and Emily Fisher Landau (304.8 x 243.8 cm). Fractional and
artist turer
synthetic polymer paint on paper,
410. Renzo Piano promised gift of Michael and Judy
418. Robert Gober twenty-four sheets, 26 x 19%in. 435. Roni Horn Ovitz
Kansai International Airport, Osaka,
Untitled. 1993-94. Bronze, wood, (66.2 x 49.5 cm) each. The Herbert Island-Pooling Waters. Vol. IV from
Japan. 1988-94. Passenger termi 446. Toyo Ito
brick, aluminum, beeswax, human and Nannette Rothschild Memorial the series To Place. Cologne, 1994.
nal, main building: painted brass, Mediatheque Project, Sendai,
hair, chrome, pump, and water, 56 x Fund in memory of Judith Two-vol. artist's book, page: 10%bx
51% x 5'/ax 67ain. (132 x 13 x 17.5 Japan. 1995. Model: acrylic, 10% x
37% x 34 in. (142.2 x 95.2 x 86.3 Rothschild 87sin. (25.9 x 20.7 cm). Publisher:
cm). Gift of the architect in honor of 31% x 29% in. (27 x 80 x 74.3 cm).
cm). Given anonymously Verlag der Buchhandlung Walther
Philip Johnson 429. Hella Jongerius Konig, Cologne. Edition: 1,000. The Gift of the architect in honor of
419. Ann Hamilton Soft Vase. 1994. Polyurethane, 10% Philip Johnson
411. Takeshi Ishiguro Museum of Modern Art Library
Seam. 1994. Room installation with in. (27 cm) high x 6 in. (15 cm)
Rice Salt-and-Pepper Shakers. 1994. 447. KCH0(AlexisLeyvaMachado)
two entrances on front wall, laser diameter. Manufacturer: DMD, the 436. Jean Nouvel
Extruded, slip-cast, and molded rice In the Eyes of History. 1992-95.
disc and player, projector, rags, Netherlands, for Droog Design. Less Table. 1994. Steel, 28%x 83%x
slurry, dimensions variable, from %x 27% in. (71.7 x 211.4 x 69.2 cm). Watercolor and charcoal on paper,
wood, plastic, and three panes of Frederieke Taylor Purchase Fund
% in. to 4 x 1 in. (1.3 x 1.9 cm to 60x49% in. (152.4 x 125.1 cm).
glass, room dimensions 11 ft. 5 in. x Manufacturer: Unifor S.p.A., Italy.
10.2 x 2.6 cm). Gift of the designer 430. James Turrell Gift of the manufacturer Purchased with funds given by
24 ft. 5 in. x 16 ft. (347.9 x 744.2 x
A Frontal Passage. 1994. Patricia and Morris Orden
412. Kim Jones 487.6 cm). Louis and Bessie Adler 437. Alberto Meda
Fluorescent light installation, dimen
Untitled. 1991-94. Pencil and era Foundation, Inc., Fund, and Peggy 448. Doris Salcedo
sions variable, museum installation, Long Frame Chaise Longue. 1994.
sures on paper, 24% x 37% in. and David McCall Fund Untitled. 1995. Wood, cement,
12 ft. 10 in. x 22 ft. 6 in. x 34 ft. Extruded and die-cast aluminum
(62.3 x 95.2 cm). Gift of Sarah-Ann and PVC-coated polyester, 34% x steel, cloth, and leather, 7 ft. 9 in. x
420. Ross Bleckner (391.2 x 685.8x 1036.3 cm).
and Werner H. Kramarsky 21%x 58 in. (87.7 x 54.6 x 147.3 cm). 41 in. x 19 in. (236.2 x 104.1 x 48.2
Memorial II. 1994. Oil on linen, 8 x Douglas S. Cramer, David Geffen,
413. Andreas Gursky 10 ft. (244 x 305 cm). Gift of Agnes Robert and Meryl Meltzer, Michael Manufacturer: Alias S.r.l., Italy. Gift cm). The Norman and Rosita Win
Shatin. 1994. Chromogenic color Gund in memory of Thomas and Judy Ovitz, and Mr. and Mrs. of the manufacturer ston Foundation, Inc., Fund, and
print, 707ax 7 ft. 8% in. (180 x 235 Ammann Gifford Phillips funds purchase
438. Glenn Ligon
cm). Anonymous Purchase Fund White ft 19. 1994. Oilstick on canvas 449. Laurie Anderson
421. Michael Schmidt 431. Jeff Scher
414. Mona Hatoum U-ni-ty (Ein-heit). 1991-94. Thirty- Garden of Regrets. 1994. USA. mounted on wood panel, 7 ft. x 60 in. Puppet Motel. 1995. CD-ROM.
Silence. 1994. Glass, 497ax 367sx one from a series of 163 gelatin 16mm film, color, 8 minutes. Gift of (213.3 x 152.4 cm). Committee on Designer: Hsin-Chien Huang.
237ain. (126.6 x 59.2 x 93.7 cm). silver prints, each 197sx 13%in. the artist Painting and Sculpture Funds Publisher: Voyager, New York.
Robert B. and Emilie W. Betts (50.5 x 34.3 cm). Anonymous Purchase
432. Barbara Kruger 439. Carrie Mae Weems
Foundation Fund Purchase Fund and Purchase 450. Joel Sanders
Public projects and illustrated book. You Became a Scientific Profile
415. Teiji Furuhashi 422. Thomas Roma 1986-94. Covers for Esquire, MS, from the series From Here I Saw Kyle Residence, Houston, Texas.
Lovers. 1994. Japan. Video installa Untitled from the series Come and Newsweek magazines. 1992. What Happened and I Cried. 1995. Project, 1991-95. Model: wood,
tion with five laser discs and play Sunday. 1991-94. Gelatin silver Three photolithographs, each Chromogenic color prints and Plexiglas, resin, and aluminum, 77ax
ers, five projectors, two sound sys print, 14 x 18%in. (35.6 x 47.6 cm). approx. 10%x 9 in. (27.3 x 22.9 cm). etched glass, 26% x 22% in. (67.6 x 33% x 29% in. (20 x 85.7 x 75 cm).
tems, two slide projectors, and two Lois and Bruce Zenkel Fund Editions: unlimited. Purchase. Un 57.8 cm). Gift on behalf of The Peter Norton Purchase Fund

548 |
 and printer: Universal Limited Art
462. Joel Coen Editions, West Islip, N.Y. Edition:
Fargo. 1996. USA. 35mm film, 42. Gift of Emily Fisher Landau
color, 98 minutes. Gift of Joel Coen
and Ethan Coen
483. Raymond Pettibon
Untitled (Justly Felt and Brilliantly point, plate: 13x9% (33 x 24.8 cm),
463. John Sayles Publisher: The Paragon Press, Said). 1996. Accordion-folded illus sheet: 19% x 25% (50 x 65 cm).
Lone Star. 1996. USA. 35mm film, London. Printer: Hope Sufference trated book with screenprint, with
451. Herzog & de Meuron Publisher: the artist and Maximilian
color, 135 minutes. Acquired from Studio, London. Edition: 35. Gift of manuscript additions and pressed
Architects Verlag/Sabine Knust, Munich.
the artist and Maggie Renzi The Young Print Collectors of the flower, produced for the journal
Signal Box, Basel, Switzerland. Printer: Kurt Zein, Vienna. Edition: 35.
Department of Prints and Illustrated Parkett 47, page: 97sx 7% in. (24.5 x
1988-95. Model: copper and paint 464. Jose Maria Sicilia Gilbert Kaplan Fund and purchase
Books 19.4 cm), overall: 9% x 76%in. (24.5 x
ed wood, 41% x 19% x 12Vein. Two volumes of Le Livre des mille
195 cm). Publisher: Parkett, Zurich 493. Arnulf Rainer
(105.7 x 48.6 x 30.8 cm). Purchase nuits et une nuit. 1996. Two from a 473. Jeanne Dunning
and New York. Printer: Lorenz Red Man. 1997. Etching and dry-
series of six illustrated books with Untitled. 1996. Silver dye bleach
/ie
13 452. Sigmar Polke Boegli, Zurich. Edition: 60. Monroe point, plate: 12 x 9% in. (32.5 x
twenty-seven lithographs and print (Cibachrome), 42% x 28% in.
Bulletproof Vacation magazine. Wheeler Fund 24.8 cm), sheet: 19% x 25% in. (50 x
/,3
9/i6
ie linoleum cuts, page, 12 x 9 in. (107.3 x 71.8 cm). Gift of Barbara
1995. Two of seventeen photolitho- 65 cm). Publisher: the artist and
(32 x 25 cm). Publisher: Michael Lee 484. Kara Walker
/i6
3 graphs, page: 11"/is x 8' in. (29.6 x Maximilian Verlag/Sabine Knust,
Woolworth Publications, Paris. Freedom: A Fable or A Curious
22.4 cm). Publisher and printer: 474. Thomas Demand Munich. Printer: Kurt Zein, Vienna.
Printer: Michael Woolworth Interpretation of the Wit of a
Suddeutsch Zeitung magazine, Room. 1996. Chromogenic color Edition: 35. Gilbert Kaplan Fund and
Lithographie, Paris. Editions: 20. Negress in Troubled Times. 1997.
/s
3 Munich. Edition: mass-produced. print, 67% x 91 in. (172 x 232.1 purchase
Mary Ellen Meehan Fund Artist's book with pop-up silhou
Gift of Haus der Kunst cm). Gift of the Nina W. Werblow
ettes, page: 9%6x 7"/i6 in. (23 x 494. Martin Puryear
465. Flex Development B.V. Charitable Trust
453. Chuck Close 19.5 cm). Publisher: The Peter Untitled. 1997. Cedar and pine, 68 x
Cable Turtle. 1996. Thermoplastic
Dorothea. 1995. Oil on canvas, 8 ft. 475. Andrea Zittel Norton Family, Santa Monica. 57 x 51 in. (172.7 x 144.7 x 129.5
3
% elastomer, 1 in. (3.5 cm) high x
6 in. x 7 ft. Yein. (259 x 213.6 cm) A-Z Escape Vehicle: Customized by Printers: text by Timothy Silverlake, cm). Promised gift of Agnes Gund
/is
9 2 in. (6.5 cm) diameter. Manufac
Promised gift of Anna Marie and Andrea Zittel. 1996. Exterior: steel, Valencia, and Typecraft, Pasadena; and Daniel Shapiro
turer: Cleverline, the Netherlands.
Robert F. Shapiro, Enid A. Haupt insulation, wood, and glass; interior: pop-up by Eisen Architects, Boston,
Gift of the manufacturer 495. Stan Brakhage
Fund, Vassilis. Cromwell Voglis colored lights, water, fiberglass, and Lasercraft, Santa Rosa. Edition: Commingled Containers. 1997.
Bequest, and The Lauder 466. Mona Hatoum wood, papier-mache, pebbles, and 4,000. Given anonymously USA. 16mm film, color, 5 minutes.
Foundation Fund Rubber Mat. 1996. Multiple of rub paint; 62 in. x 7 ft. x 40 in. (157.5 x
485. Arthur Omar Acquired from the artist
ber mat, 1% x 30% x 217bin. (3 x 213.3 x 101.6 cm). The Norman and
454. Matthew Barney 78.3 x 58.1 cm). Publishers: Printed Rosita Winston Foundation, Inc., The Last Mermaid. 1997. Brazil. 496. Reiko Sudo
Cremaster 4. 1994-95. Plastic, Matter and The New Museum of Fund and an anonymous fund Videotape, color, 11 minutes Origami Pleat Scarf. 1997. Hand-
satin, fabric, and silkscreened Contemporary Art, New York. pleated and heat-transfer-printed
476. Werner Aisslinger 486. Kristin Lucas
video laser disc in silkscreened Fabricator: Gheorge Adam, Red Hill, polyester, 17%ex 59%6in. (43.9 x
Juli Armchair. 1996. Polyurethane Host. 1997. USA. Videotape, color,
onionskin sleeve, 5 x 33% x Pa. Edition: 35. Purchased with pro 150 cm). Manufacturer: Nuno
integral foam and metal, 29% x 24% sound, 7 minutes 36 seconds. Gift
23% in. (12.7 x 84.4 x 60.3 cm). ceeds from the 1998 Clue event, Corporation, Japan; also Takekura
x 21% in. (75 x 63 x 55 cm). of Susan Jacoby
Blanchette Flooker Rockefeller sponsored by The Junior Associates Co., Ltd., Japan. Gift of the designer
Fund Bequest Manufacturer; Cappellini S.p.A., 487. Vik Muniz
of The Museum of Modern Art
Italy. Gift of the manufacturer Mass from the series Pictures of 497. Reiko Sudo
455. cyan (Sophie Alex, Wilhelm 467. John Armleder Shutter. 1997. Nylon stitched onto
477. Franz West Chocolate. 1997. Two silver dye
Ebentreich, Detlef Fiedler, Gog. 1996. Four from a portfolio of soluble base-fabric (base dissolved),
Spoonerism. 1996. Suitcases, card bleach prints (Cibachrome),each 60 x
Daniela Haufe, Siegfried thirteen screenprints, each 19'Vkx 32% in. (82.2 cm) wide.
board, plaster, paint, and gauze, in 48 in. (152.4 x 122 cm). The
Jablonsky) 19'7ibin. (50 x 50 cm). Publisher: Manufacturer: Nuno Corporation,
three parts: 6 ft. 6 in. x 39 in. x 40 Fellows of Photography Fund and
Foundation Bauhaus Dessau, Editions Sollertis, Toulouse. Printer: Japan. Gift of the manufacturer
in. (198.1 x 99 x 101.6 cm), 69 in. x Anonymous Purchase Fund
Events, July-August 1995 (Event Atelier a Paris, Paris. Edition: 25.
Stiftung Bauhaus Dessau, Jul-Aug 6 ft. 6 in. x 22 in. (175.2 x 198.1 x 488. Fred Tomaselli 498. Daniel Libeskind
Gift of The Junior Associates of The
1995). 1995. Poster: offset litho 55.9 cm), 6 ft. 6 in. x 21 in. x 21 in. Bird Blast. 1997. Pills, leaves, col Berlin Museum with Jewish
Museum of Modem Art Museum, Berlin, 1989-97 (project
graph, 33 x 23% in. (83.8 x 59.3 cm). (198.1 x 53.3 x 53.3 cm); overall lage, synthetic polymer paint, and
Gift of the designers 468. David Hammons dimensions variable. An anonymous resin on wood panel, 60 x 60 in. ed completion, 2001, date of the
Out of Bounds. 1995-96. Dirt on fund, and Emily Fisher Landau, (152.4 x 152.4 cm). Gift of Douglas model, 1997). Model: wood on
456. Sheron Rupp paper, framed, with basketball, Frances R. Dittmer, and Patricia paper, 66 x 11%(167.7 x 29.2 cm)
S. Cramer
Untitled (Bayside, Ontario, Canada). 5374x 417 x 117 in. (131.2 x 105.4 x Phelps de Cisneros funds each side of diamond. Gift of the
1995. Chromogenic color print, 25%x 29.2 cm). Gift of the Friends of 489. Chuck Close architect in honor of Philip Johnson
32 in. (65.8 x 81.3 cm). E. T. 478. Al Pacino Self-Portrait. 1997. Oil on canvas,
Contemporary Drawing, the Friends
Harmax Foundation Fund Looking for Richard. 1996. USA. 8 ft. 6 in. x 7 ft. (259.1 x 213.4 cm). 499. Willie Cole
of Education, and Peter and Eileen
35mm film, color, 109 minutes. Gift of Agnes Gund, Jo Carole and Stowage. 1997. Woodcut, comp.:
/ie
9 457. Stan Douglas Norton Acquired from the artist and Fox 49 in. x 7 ft. 11%bin. (125.9 x
Ronald S. Lauder, Donald L. Bryant,
Historic set for "Der Sandman " at 469. KCH0(AlexisLeyvaMachado) Searchlight Films 241.5 cm), sheet: 56% x 104%in.
Jr., Michael and Judy Ovitz, Anna
DOKFILM Studios, Potsdam, The Infinite Column I. 1996. Wood (142.9 x 266 cm). Publisher:
479. Toray Industries, Inc. Marie and Robert F. Shapiro, and
Babelsburg, December 1994. 1995. and metal, 12 ft. 10 in. x 12 ft. 7 in. x Alexander and Bonin Publishing,
Encircling Fishing Net. 1996. Leila and Melville Straus, and
Silver dye bleach print (Cibachrome), 11 ft. 1 in. (391.1 x 383.5 x337.8 New York. Printer: Derriere L'Etoile
Teteron polyester. Knotless mesh purchase
30 x 40 in. (76.2 x 101.6 cm). Nina cm). Committee on Painting and Studios, New York. Edition: 16.
W. Werblow Charitable Trust net, variable width (1%in. contract 490. Arnulf Rainer
Sculpture Funds Jacqueline Brody Fund and The
ed / 132 in. expanded) x 278 in. (3.8 / Blue Bam. 1997. Etching and dry-
458. Jasper Johns Friends of Education Fund
470. Gary Simmons 335.3 x 706.1 cm) Manufacturer: point, plate: 11% x 9% in. (29.5 x
Untitled. 1992-95. Oil on canvas, 6 ft. boom. 1996. Chalk on blackboard Toray Industries, Inc., Tokyo; also 500. Kiki Smith
24.2 cm), sheet: 19% x 25% in. (50 x
6 in. x 9 ft. 10 in. (198.1 x 299.7 cm). paint on wall, 28 x 117 in. (711 x Nitto Seimo Co., Ltd., Tokyo. Gift of Endocrinology. 1997. Two spreads
Promised gift of Agnes Gund 65 cm). Publisher: the artist and
292 cm). Gift of the Friends of Toray Industries, Inc. from an illustrated book with twen
Maximilian Verlag/Sabine Knust,
459. Inoue Pleats Co., Ltd. Contemporary Drawing and of the ty lithographs with collage, page:
480. Ken Jacobs Munich. Printer: Kurt Zein, Vienna.
Wrinkle P. 1995. Polyester. Hand Friends of Education 20% x 19%in. (52.1 x 49.6 cm)
Disorient Express. 1996. USA. Edition: 35. Gilbert Kaplan Fund and
pleated and heat set, 59 in. (149.9 (irreg.). Publisher and printer:
471. Gabriel Orozco 35mm film, black and white, silent, purchase
cm) wide. Manufactured: Inoue Universal Limited Art Editions, West
Light Through Leaves. 1996. Iris 30 minutes. Acquired from the artist
Pleats Co., Ltd., Fukui 491. Arnulf Rainer Islip, N.Y. Edition: 40. Gift of Emily
/ie
15 print, comp: 20 x 307sin. (53.2 x
481. Igor Moukhin Greens. 1997. Etching and drypoint, Fisher Landau
460. Luc Tuymans 76.5 cm), sheet: 22% x 32%bin.
Moscow, May 9, 1996. 1996. plate: 13x9% in. (33 x 24.8 cm),
A Flemish Intellectual. 1995. (56.2 x 81.8 cm). Publisher: Parkett, 501. William Kentridge
Zurich and New York. Printer: Cone- Gelatin silver print, 13'%6x 20% in. sheet: 19% x 25% in. (50 x 65 cm).
Gouache on paper, 11%x 8% in. Ubu Tells the Truth. 1996-97. Four
Laumont Editions, New York. (35.5 x 52 cm). Gift of The Junior Publisher: the artist and Maximilian
(29.2 x 20.9 cm). Gift of the Friends from a series of eight etching,
Edition: 60. Frances Keech Fund Associates of The Museum of Verlag/Sabine Knust, Munich. aquatint, and drypoints, plate: 9'%ex
of Contemporary Drawing
Modern Art Printer: Kurt Zein, Vienna. Edition: 11'%6in. (25 x 30 cm), sheet: 13%x
461. Luc Tuymans 472. Chris Ofili 35. Gilbert Kaplan Fund and
482. Kiki Smith 19% in. (35 x 49.8 cm). Publisher:
The Heritage IV. 1996. Oil on can North Wales. 1996. Three from a purchase
Constellations. 1996. Lithograph the artist and Caversham Press,
vas, 6 ft. 6% in. x 49% in. (200 x portfolio of ten etchings, plate: each
with flocking, sheet: 57% x 31%ein. 492. Arnulf Rainer Balgowan, South Africa. Printer:
125.5 cm). Committee on Painting 9%x 77bin. (24.9 x 19.9 cm), sheet:
(145.5 x 79.8 cm) (irreg.). Publisher Blue Nest. 1997. Etching and dry- Caversham Press, Balgowan, South
and Sculpture Funds each 15 x 11%in. (38 x 28.7 cm).

I 549
 Africa. Edition: 50. Acquired through color, 108 minutes. Acquired from place mats, and paper tablecloth,
the generosity of Agnes Gund Kit-Ming Li, with funds provided by housed in cardboard box, various
502. John Baldessari The Junior Associates of The dimensions. Publisher: I. C.
Goya Series: And. 1997. Ink jet and Museum of Modern Art Editions, New York. Edition: unlimit
synthetic polymer paint on canvas, 524. Matthew Barney the Association of Independent ed. Gift of Anna Marie Shapiro
6 ft. 3 in. x 60 in. (190.5 x 152.3 cm). 514. Paul Winkler C5: Elbocsatas. 1998. Graphite, syn Commercial Producers
544. Jean-Marie Straub and
Mr. and Mrs. Thomas H. Lee Fund Flotation. 1998. Australia. 16mm thetic polymer paint, and petroleum 535. Mariko Mori Daniele Huillet
film, color, 17 minutes jelly on paper in acrylic and Vivak
503. Rachel Whiteread Star Doll. 1998. Multiple of doll, pro Sicilia! 1999. France/Italy. 35mm
Untitled (Paperbacks). 1997. Room 515. Charles Long frame, 14 x 12 x 1%in. (35.6 x 30.5 x duced for the journal Parkett 54, film, black and white, 66 minutes
installation, containing plaster and Internalized Page Project. 1997-98. 3.2 cm). Gift of the Friends of 10%x 37sx 1%6in. (26 x 8 x 4 cm)
Contemporary Drawing
545. Carroll Dunham
steel, dimensions variable. Gift of Two from a portfolio of seven Iris (irreg.). Publisher: Parkett, Zurich Ship. 1997-99. Mixed mediums
Agnes Gund; Thomas W. Weisel, prints and seven folders, housed in 525. Kara Walker and New York. Fabricator: Marmitte, on linen, 10 ft. 7sin. x 13 ft. 7bin.
Patricia Phelps de Cisneros, archival box, comp. and sheet: each African/American. 1998. Linoleum Tokyo. Edition: 99. Linda Barth (305.1 x 396.5 cm). Paula Cooper,
/,
3
e Frances R. Dittmer, John Kaldor, 11 x 8% in. (28 x 21.6 cm), folder: cut, comp.: 60% x 46 in. (153.8 x Goldstein Fund Donald L. Bryant, Jr., and Andreas
Emily Rauh Pulitzer, and Leon Black 11%x 97,6(29.8 x 23 cm) (irreg.), 117.3 cm), sheet: 60% x 46%ein. 536. Cai Guo-Qiang C. Dracopoulos funds
funds: and an anonymous fund box: 10%x 12%x 2%in. (26.7 x 31.6 x (153.8 x 117.3 cm). Publisher and
6.4 cm). Publisher and printer: Borrowing Your Enemy's Arrows. 546. Damien Hirst
504. Franz West printer: Landfall Press, Chicago. 1998. Wood boat, canvas sail,
Muse X Editions, Los Angeles. The Last Supper. 1999. Eight from
Hangarounds. 1997. Synthetic poly Edition: 40. Ralph E. Shikes Fund arrows, metal, rope, Chinese flag,
Edition: 15. Acquired through the a portfolio of thirteen screenprints,
mer paint, gouache, dry pigment, 526. Luc Tuymans and electric fan; boat approx. 60 in. x comp: various dimensions, sheet:
generosity of Agnes Gund
watercolor pan, tape, and cut-and- The Blue Oak. 1998. Cut-and-pasted 23 ft. 7 in. x 7 ft. 6 in. (150 x 720 x each approx. 60% x 40 in. (153.1 x
pasted printed paper on paper (two- 516. Aleksei German paper, gouache, and pencil on 230 cm), arrows approx. 24 in. (62 101.6 cm). Publisher: The Paragon
sided), 39 x 44 in. (100 x 112 cm). Khroustaliov, My Car! 1998. cm) long . Gift of Patricia Phelps de
paper, 15%x 117sin. (39.4 x 30.1 Press, London. Printer: Coriander
Gift of the Friends of Contemporary France/Russia. 35mm film, black Cisneros in honor of Glenn D.
cm). Gift of Linda and Howard Press, London. Edition: 150.
Drawing and white, 137 minutes. Acquired Lowry
Karshan Monroe Wheeler Memorial Fund,
from Sodaperaga
505. Lewis Klahr 537. Rachel Whiteread Roxanne H. Frank Fund, and partial
527. John Madden
Pony Glass. 1997. USA. Animation 517. Richard Serra Water Tower. 1998. Translucent gift of Charles Booth-Clibborn
Shakespeare in Love. 1998.
eel from 16mm film, color, 15 min Torqued Ellipse IV. 1998. resin, 12 ft. 2 in. (370.8 cm) high x
USA/Great Britain. 35mm film, 547. E. V. Day
utes. Acquired from the artist Weatherproof steel, 12 ft. 3 in. x 26 9 ft. (274.3 cm) diameter. Given
color, 122 minutes. Gift of Miramax Anatomy of Hugh Hefner's Private
ft. 6 in. x 32 ft. 6 in. (373.4 x 807.7 x anonymously
506. Sue Williams Films Jet (1-5): Cross-section of Hugh
990.6 cm). Fractional and promised
Mom's Foot Blue and Orange. 538. William Kentridge Hefner's Digestive System; Three-
gift of Leon and Debra Black 528. Robert Rauschenberg
1997. Oil and synthetic polymer Seated Couple (Back to Back). Mile-High-Club Proliferation-Stage II;
Bookworms Harvest. 1998.
paint on canvas, 8 ft. 2 in. x 9 ft. 518. Anish Kapoor 1998. Charcoal on printed book Three-Mile-High-Club Proliferation-
Vegetable-dye transfer on paper on
(248.9 x 274.3 cm). Carlos and Wounds and Absent Objects. 1998. pages pasted on paper, 42 x 6 ft. Stage III; Three-Mile-High-Club
metal, 8 ft. 1%in. x 61 in. (247.6 x
Alison Spear Gomez Fund, Marcia Two from a portfolio of nine pig 3% in. (106.7 x 191.1 cm). Gift of Metastasis; Metastatic Rupture.
154.9 cm). Fractional and promised
Rilkis Fund, and an anonymous fund ment-transfer prints, comp.: 17% x the Friends of Contemporary 1999. Five blueprints, comp.: each
gift of Jerry I. Speyer
21%ein. (44.7 x 53.5 cm), sheet: Drawing 23%x 17 in (58.8 x 43.1 cm), sheet:
507. Yukinori Yanagi 20% x 24% in. (52x61.5 cm). 529. Chris Ofili each 247iex 187ain. (61.1 x 45.9
Wandering Position. 1997. Four Publisher: The Paragon Press, Untitled. 1998. Watercolor and pen 539. William Kentridge cm). Publisher: the artist. Printer:
from a portfolio of five etchings, cil on paper, three of eight sheets, Untitled (drawing for Stereoscope). Everyday Blueprint, New York.
London. Printer: Permaprint,
sheet: 247,sx 207,ein. (61.2 x 50.9 each 9%x 67sin. (24 x 16 cm). Gift 1998-99. Charcoal and pastel on Edition: 8. Roxanne H. Frank Fund
London. Edition: 12. Jacqueline
cm). Publisher: Peter Blum Edition, of Martin and Rebecca Eisenberg paper, 47% x 63 in. (120 x 160 cm).
Brody Fund and Harry Kahn Fund
New York. Printer: Harlan & Weaver Gift of The Junior Associates of The 548. Chris Ofili
Intaglio, New York. Edition: 35. 519. Terry Winters 530. Enrique Chagoya Museum of Modern Art with spe Prince amongst Thieves. 1999. Syn
Frances Keech Fund Graphic Primitives. 1998. Two from The Return of the Macrobiotic cial contributions from anonymous thetic polymer paint, collage, glitter,
a portfolio of nine woodcuts, comp.: Cannibal. 1998. Accordion-folded donors, Scott J. Lorinsky, Yasufumi resin, map pins, and elephant dung
,5
/ie
508. Zhang Peili each 17 x 24 in. (45.6 x 60.9 cm), illustrated book with lithograph, on canvas,8 x 6 ft. (243.8x 182.9 cm).
Eating. 1997. China. Video installa Nakamura, and The Wider
sheet: 20%x 26%bin. (52 x 66.5 cm). woodcut, and chine colle, page: 7%x Foundation Mimi and Peter Haas Fund
tion with three laser discs and play 11%in. (19.2 x 27.9 cm), overall: 7%x
Publisher: Two Palms Press and the
ers, and three matching stacked 540. Phil Solomon 549. Richard Serra
artist, New York. Printer: Two Palms 7 ft. 8 in. (19.2 x 232.8 cm).
monitors, sound, dimensions vari Twilight Psalm II: Walking Distance. Out of Round XII. 1999. Oilstick on
Press, New York. Edition: 35. Publisher and printer: Shark's,
able. Gift of The Junior Associates 1999. USA. 16mm film, color, 23 paper,6 ft. 7%in. x 6 ft. 7%in. (201.3 x
John B. Turner Fund Lyons, Colo. Edition: 30. The
of the Museum of Modern Art minutes. Acquired from the artist 201.3 cm). Fractionalgift of Leon Black
Ralph E. Shikes Fund
520. Gerhard Richter 550. Richard Serra
509. David Williams 128 Details from a Picture (Halifax 531. Lisa Yuskavage 541. Julian Opie
Thirteen. 1997. USA. 16mm film, Imagine YouAre Driving; Cars?; Switch. 1999. Steel, six plates, each
1978). 1998. Two from a portfolio of Asspicker and Socialclimber from
color, 87 minutes Imagine YouAre Walking; 13 ft. 6 in. x 52 ft. (411.5 x 1585
s eight photolithographs, comp.: 24% x the series The Bad Habits.
Cityscape?; Gary, Popstar; cm). Fractional and promised gift of
510. Pipilotti Rist 38% in. (62.4 x 98.7 cm), sheet: 25%x 1996-98. Two of five etchings,
Landscape? 1998-99. Six screen- Emily Carroll and Thomas W. Weisel
/is
9 Ever Is Over All. 1997. Video instal 39 in. (64.2 x 100.4 cm). plate: each 6 x 5 in. (15.2 x 12.7 cm),
lation with laser discs and players, Publisher: Kaiser Wilhelm Museum, sheet: each 15'/iex 11 in. (38.2 x prints, various dimensions, from 24 x 551. Shahzia Sikander
two projectors, and sound, dimen Krefeld. Printer: Plitt Druck and 28.1 cm). Publisher: Marianne 207bin. (61 x 53 cm) to 24 x 57%6 Anchor. 1999. Screenprint, comp:
sions variable. Fractionaland Verlag GmbH, Oberhauen. Edition: Boesky Gallery, New York. Printer: (61 x 145 cm). Publisher: Alan 25% x 32"/,b in. (62.5 x 83 cm),
promised gift of Donald L. Bryant. Jr. 60. Lee and Ann Fensterstock Fund Burnet Editions, New York. Edition: Cristea Gallery, London. Printer: sheet: 28% x 35 in. (71.7 x 88.9 cm)
and the Howard Johnson Fund 25. John B. Turner Fund Advanced Graphics, London. (irreg.). Publisher: Deitch Steinberg
511. Fiona Banner Edition: 40. Acquired through the Editions, New York. Printer: Michael
Break Point. 1998. Screenprint, 521. Gabriel Orozco 532. Elizabeth Peyton generosity of Andrew Shapiro, in Steinberg, New York. Edition: 60.
/ie
7 comp.: 69 x 7 ft. 11%in. (176.4 x I Love My Job. 1998. Silver dye Bosie. 1998. Lithograph, comp. and
honor of his mother, Anna Marie Lee and Ann Fensterstock Fund
243.3 cm), sheet: 71% x 8 ft. 17bin. bleach print (llfochrome), 12%x 18% sheet: 29%x 22%in. (74.9 x 57.2 cm).
Shapiro
(182 x 246.7 cm). Publisher: Frith in. (31.7 x 47 cm). The Family of Publisher: Gavin Brown, the artist, 552. Jean-Luc Godard
542. Andreas Gursky
Street Gallery, London. Printer: Man Fund and Derridre L'Etoile Studios, New The Old Place. 2000. Switzerland.
Toys "R" Us. 1999. Chromogenic
Wallis Screenprint, Kent. Edition: York. Printer: Derriere L'Etoile Videotape, color, 50 minutes.
522. Christian Boltanski color print, 6 ft. 9% in. x 11 ft. % in.
10. Linda Barth Goldstein Fund Studios, New York. Edition: 45. Gift Purchase
Favorite Objects. 1998. Nine from a (207 x 337 cm). Gift of Jo Carole
of Anna Marie Shapiro
512. Konstantin Greic portfolio of 264 color Xeroxes, comp.: and Ronald S. Lauder 553. Faith Hubley
May Day Lamp. 1998. Plastic and each approx. 10%x 8%6in. (27.4 x 533. Philippe Starck Witch Madness. 2000. USA. 35mm
543. Barbara Bloom
polycarbonate, 21 in. (53.3 cm) high x 21.1 cm), sheet: each 11 x 8%sin. La Marie Folding Chair. 1998. film, color, 9 minutes
A Birthday Party for Everything.
8% in. (21.7 cm) diameter. Manufac (28 x 21.7 cm). Publisher: Lycee Polycarbonate, 34% x 18% x 20% in.
1999. Multiple of pinwheel, paper 554. Matthew Barney
turer: Flos S.p.A, Italy. Gift of the Frangaise, Chicago. Printer: Lab One (87.7 x 47.3 x 521 cm).
fan, noisemakers, jelly beans, plas The Cabinet of Baby Fay La Foe.
manufacturer and CD Color, Chicago. Edition: 264. Manufacturer: Kartell S.p.A., Italy.
tic bottle, pencils, candles, wooden 2000. Nylon, polycarbonate honey
Gift of Lee and Ann Fensterstock, in Gift of the manufacturer
513. Julia Loktev tops, kaleidoscope, Frisbee, paper comb, cast stainless steel, cast
honor of their daughters, Kate and
Moment of Impact. 1998. USA. 534. Ralph Schmerberg plates, plastic straws, paper horns, solar salt, epoxy resin, top hat and
Jane
Videotape transferred to 16mm "Los Toros," a commercial for Nike. streamers, ribbon, balloons, plastic beeswax, 4 ft. 11 in. x 7 ft. 11%in. x
film, black and white, 116 minutes. 523. Jia Zhang Ke 1998. USA. 35mm film transferred paddle with rubber ball, puzzle, 3 ft. 2% in. (149.8 x 242 x 96.5 cm).
Acquired from the artist Xiao Wu. 1998. China. 35mm film, to videotape, color, 1 minute. Gift of paper napkins, paper cups, paper Purchase

550 |
 This publication was produced under unusually Permissions, for her always swift and dependable
severe pressures, and we are therefore doubly work in meeting great demands, as well as her
grateful to all of those who gave extra quotients staff, Charleen Alcid, Jennifer Bott, Rosa Laster,
of their time, energy, and expertise. Harriet and Eden Schulz. Thanks also go to NancyAdelson
Schoenholz Bee, Managing Editor in the Depart for advising on reproduction permissions and issues
ment of Publications, deserves special thanks for of copyright.
her extraordinarily fine work editing all of the
texts under extreme constraints of time. She was In addition to the individuals already mentioned,
ably assisted in the editing and coordination we thank each of the curators who have written
of the various parts of the book by intern Ines insightful essays that help to synthesize the rich
Katzenstein. One of the most crucial and challeng diversity of images in this volume. Wewould also
ing aspects of the publication was its design, and like to acknowledge two key members of our core
in particular the chronological layout of so many team, AmyHorschak and Fereshteh Daftari, who
diverse images. This task was brilliantly and sensi contributed their insights and prudent advice along
tively accomplished by Steven Schoenfelder, whose the way. Madeleine Hensler provided priceless and
calm good-spiritedness made him a great pleasure exacting administrative assistance for this project,
Acknowledgments to work with. At least as challenging, however, was and continually propelled us in the right direction.
the task of producing such a complex book from an The project was also supported by a group of dedi
array of photographs that varied widely in format cated interns including Benjamin Lima, Alice
and quality. For his superb execution of this task, Moscoso,David Rodriguez Caballero,Sarah Burton,
and constant attention to quality, we gratefully and EmilyCapper.And finally, a debt of gratitude
thank Production Manager MarcSapir. We also goes to Judith Hecker who, with her unflagging
thank Cara Maniaci and Cassandra Heliczer for attention to every detail and her tireless dedication
their expert proofreading. The Museum's Publisher to this project, helped guide the publication to
MichaelMaegraith provided unstinting support completion.
of this endeavor from its inception, and Michael
Margitich,DeputyDirector,ExternalAffairs, secured KirkVarnedoe
the funding that made this publication possible. Paola Antonelli
Joshua Siegel
The daunting task of gathering and trafficking
the photography for this book was overseen by
Jeffrey Ryan, with invaluable assistance, especially
in compiling the photograph credits, by intern
Suzanne Perling. Meticulous caption research and
timely corrections were carried out, under urgent
pressure, by members of each curatorial depart
ment, and we are grateful to Pierre Adler, Sally
Berger, MaryCorliss,Kathy Curry, Fereshteh Daftari,
Terry Geeskin, Judith Hecker, Sarah Hermanson,
Susan Kismaric,Barbara London, Matilda McQuaid,
Elaine Mehalakes, Peter Reed, Laura Rosenstock,
and Sarah Suzuki for their essential contributions.
Weare also indebted to Chief Fine Art Photographer
Kate Kellerfor her expert coordination and execu
tion, as well as to photographers KellyBenjamin,
John Cross,Thomas Griesel, Paige Knight, Erik
Landsberg, KimberlyPancoast, Erica Stanton, and
John Wronn. Wethank Mikki Carpenter, Director
of the Department of Photographic Services and

I 551
 Individual works of art appearing Courtesy Cinematheque Ontario:
herein may be protected by copy 33 bottom; 35 bottom right; 167;
right in the United States of 220; 240 bottom; 490 top.
America or elsewhere, and may
© 1983 Francesco Clemente: 83;
thus not be reproduced in any form
1986: 144-145.
without the persmission of the
copyright owners. The following Geoffrey Clements, courtesy
credits appear at the request of the Robert Gober: 317 top.
artists or the artists' representa © Chuck Close: 443; 1995: 413.
tives. This listing is arranged alpha
Courtesy Joel and Ethan Coen:
betically by photographer and copy
422 top.
right owner; numbers refer to the
pages on which the illustrations Theo Columbe, courtesy 303
appear. Gallery: 458.
© 1990 Bruce Conner: 283.
© 1980 Vito Acconci: 22; 1977-81 : Courtesy Crown Point Press: 23.
23; 1990-91: 303. Courtesy Terence Davies: 334
Courtesy Peggy Ahwesh: 242. bottom.
Courtesy Alexander and Bonin: James Dee, courtesy Ronald
450-451. Feldman Fine Arts, New York:
205.
Dave Allison, The Museum of
Modern Art: 89; 163; 204; 252; Courtesy Carlos Diegues: 35 top.
335. Digital Design Collection Project:
© 1989 Ida Appelbroog: 241. Jon Cross and Erica Stanton, Luna
Photograph Credits Courtesy Dieter Appelt: 301.
Imaging, © 2000 The Museum of
Modern Art, New York: 29; 40; 101;
© 1996 John Armleder: 425. 118 top; 195; 230 bottom; 256;
© 2000 Artists Rights Society 328; 341.
(ARS), New York/ADAGP, Paris: Courtesy Nathaniel Dorsky: 178.
116; 189, 475; 292.
© 1994 Marlene Dumas: 390-391.
© 2000 Artists Rights Society
© 1989 Carroll Dunham: 228;
(ARS), New York: 267, 315, 351;
1999: 491.
74, 92, 163, 204, 231; 329,
468-469, 470, 496, 497; 132, 133; Courtesy Electonic Arts Intermix:
196, 384; 47, 125; 90; 355. 87 bottom; 95 top; 165 bottom;
209 top; 248; 321; 347 top; 364
© 2000 Artists Rights Society
bottom; 439 bottom; 499.
(ARS), New York/VG Bild-Kunst,
Bonn: 127; 52; 205. © 1984 Embassy International
Pictures. All rights reserved: 93.
© 2000 Artists Rights Society
(ARS)/Pro Litteris, Zurich: 25, 143. © Rainer Werner Fassbinder: 28
top.
at radical.media: 483 top.
© Rainer Werner Fassbinder
© 1986 John Baldessari: 147;
Foundation: 38.
1997: 454.
Courtesy Janice Findley: 157.
Ballo: 170.
© 1987 Eric Fischl: 170-171.
© 1995 Matthew Barney: 414;
1998: 477. © 1988 Gunther Forg: 208.
© 2000 Georg Baselitz: 42. Frameline: 222.
© 1988 Bernd and Hilla Becher: © 1985 Robert Frank: 112-113.
186. Courtesy John Frankenheimer:
Peter Bellemy, New York: 148-149. 146 bottom.
© 1987-88 Ashley Bickerton: 193. © 1994 Teiji Furuhashi: 375.
Courtesy Kathryn Bigelow: 76-77. Courtesy Gagosian Gallery, New
York: 96; 343; 406.
© 1982 The Blade Runner
Partnership. All rights reserved: 62. Courtesy Ernie Gehr: 298.
© 1994 Ross Bleckner: 381. © 1989 Gilbert and George,
courtesy the artists: 232-233.
Courtesy Tanya Bonakdar Gallery:
466. Courtesy Barbara Gladstone
Gallery: 155; 393; 414.
© 1983 Jonathan Borofsky: 89.
© 1986 Robert Gober: 136; 1989:
Courtesy Stan Brakhage and
252; 1991, courtesy the artist: 316;
Anthology Film Archives: 446.
1992: 317; 1992: 317; 1993-94:
Courtesy Robert Breer: 153. 379.
© 1992 Chris Burden: 343. Paula Goldman: 385.
© 1980-81 Scott Burton: 43. © 1990 Estate of Felix Gonzalez-
Canon ARTLAB: 375. Torres, courtesy Andrea Rosen
Gallery: 285; 1991: 305; 1991:
© 1998 Enrique Chagoya: 480. 306, 304.
Courtesy Cheim & Read, New York: Courtesy Marian Goodman Gallery:
148-149, 332, 395, 400. 202; 474.
Linda Chen, Miramax Films: 367 Courtesy Jay Gorney Modern Art:
bottom. 190.
Courtesy Abigail Child: 165 top.

552
 E. Lari: 290 top. Kira Perov: 87 top; 134; 376-377. Universal Limited Art Editions: 178. John Wronn, The Museum of
Tom Griesel, The Museum of
Modern Art, © Simon Patterson
Modern Art: 22; 31 top and bottom © 1987 Jac Leirner: 173. © 1991 Raymond Pettibon: 312; Courtesy Steina Vasulka: 251 .
and London Regional Transport:
right; 64; 67, courtesy the artist; 1992: 337; 1996: 438.
© 1991 Annette Lemieux, courtesy Ethel Velez: 226-227. 342.
73; 75; 78 top; 116; 117; 147 top;
the artist and McKee Gallery, New © 1990 Lari Pittman: 265. Vent Design, Campbell, California, John Wronn, The Museum of
186; 214; 228; 231; 247; 250; 259;
262-263; 272; 308 bottom; 309; York: 299. Tom Powel, courtesy Gagosian courtesy Domus Archives, Milan: Modern Art, © Arnulf Rainer,
327; 331; 333; 370-371 top; 403; © 1984 Sherrie Levine: 98. Gallery: 329. 206. Vienna: 444.
421 ; 438 bottom; 456; 486 bottom. Courtesy P.P.O.W.Gallery: 399. Video Data Bank: 246 bottom: 246; John Wronn, The Museum of
Kit-Ming Li: 476.
Courtesy Cai Guo-Qiang: 484. 361 bottom. Modern Art, © Art Spiegelman:
© 1991 Glenn Ligon: 310; 1993: © 1984 Martin Puryear: 108; 1997:
V-tape: 347 bottom. 122; 240 top.
© 1994 Andreas Gursky: 372-373. 349; 1994: 398. 445.
© 1997 Arnulf Rainer: 444. Courtesy VOUS ETES ICI, Courtesy Julie Zando: 209 bottom.
Courtesy James Herbert: Courtesy Julia Loktev: 464 bottom.
118 bottom. Amsterdam: 337 bottom right. Dorothy Zeidman, courtesy Mary
Courtesy Mary Lucier: 179 top. © 2000 Robert Rauchenberg/
Licensed by VAGA, New York: 479. © 2000 The Andy Warhol Boone: 354.
Courtesy Werner Herzog: 51,
Courtesy Luhring Augustine
Foundation for the Visual Courtesy Zhang Peili: 460.
© 1984 Gary Hill: 95; 1990: 264. Gallery: 359; 430 top; 455; 461 Dirk Reinartz: 468-469; 470.
Arts/Artists Rights Society (ARS),
bottom; 485. © 1988 Gerhard Richter: 198-199, Zindman/Fremont, courtesy
Courtesy Rhona Hoffman Gallery: New York: 96, 158-159, 176-177.
200, 201; 1998: 473. Leo Castelli: 355.
368-368. Jacek Marczewski, The Museum of
© 1980 Warner Bros., Inc. All rights
Modern Art: 30; 34; 61; 95 bottom; Courtesy Andrea Rosen Gallery, © 1996 Andrea Zittel: 433.
© 1994 Jenny Holzer: 378. reserved: 18; 1986: 160 top; 1988:
104; 135; 187; 224; 229; 254; 291; New York: 304 top; 305. Courtesy David Zwirner Gallery:
© 1993 Roni Horn: 354; 1994: 396. 203.
293 top; 296; 300; 308 top; 352 404-405; 417; 434 top.
top; 357; 358 top; 370 bottom; 388; © 1986 Susan Rothenberg and © 1992 Warner Bros., a division of
Courtesy I.C. Editions, New York:
392; 395 bottom; 396 bottom; 397; Gemini G.E.L.: 133. Time Warner Entertainment Co.,
490 top.
401 ; 407; 410 bottom; 411; 424 © 1983 Edward Ruscha: 78; 1986: L.P. All rights reserved: 344 top;
Courtesy Ken Jacobs: 436 top. 1993: 344 bottom.
top; 433 bottom; 449; 464 top. 151; 1989, courtesy the artist:
© 2000 Jasper Johns/Licensed by 244-245. © 1988 Lawrence Charles Weiner:
Courtesy Matthew Marks Gallery:
VAGA, New York: 115, 418-419. 202.
351; 472; 489. © 1984 Robert Ryman: 109.
© 1994 Kim Jones: 371. Courtesy Michael Werner Gallery:
© 1984 Allan McCollum: 105. © 2000 David Salle/Licensed by
© 1986 Anish Kapoor: 155; 1987: VAGA, New York: 116-1 17. 255.
Robert McKeever, courtesy
179; 1998: 471. Joshua White: 314.
Gagosian Gallery: 496; 497. Courtesy Jeff Scher: 394 top.
Courtesy Kartell: 482. © 1993 Rachel Whiteread: 359;
Courtesy Merchant Ivory Courtesy Martin Scorsese and
Kate Keller, The Museum of Productions: 146 top. Cappa Productions: 24; 78 bottom; 1997: 455; 1998 : 485.
Modern Art: 43; 47; 52; 59; 60; 66; 223; 290 bottom; 361 top. Courtesy David Williams; 461.
Nick Merrick © 1994 Hedrich-
68; 69; 70; 83; 90; 97; 105; 108;
Blessing, courtesy Herman Miller, Ascension Serrano, Estate of © 1997 Sue Williams: 458.
111; 112-113 bottom; 114; 123;
Inc.: 340. Warren Sonbert: 297.
124; 125; 141; 143; 156; 168 top; Karen Willis: 345; 420 left; 435;
171; 173; 174; 192; 193; 196; 152; Courtesy Metro Pictures: 210; © 1989-1990 Joel Shapiro: 258. 447; 448.
217; 235; 260; 280-281; 285; 312; 428-429; 491.
Shark's Inc: 480 bottom. © 1987 Christopher Wilmarth,
330 bottom; 337 bottom left; 338; © 1987 Mario Merz: 182-183.
© 1980 Cindy Sherman: 19, 20, 21; courtesy Susan Wilmarth: 169.
346; 348; 353; 362-363; 364 top;
365; 372-373; 374; 381; 386; 387; Courtesy Moongift Films: 131. 1981: 46; 1989: 221; 1992: 318. © 1991 Ellen Page Wilson: 273.
409; 418-419; 427; 440; 441. © 1989-90 Elizabeth Murray: 279; © 1996 Jose Maria Sicilia: 423. Ellen Page Wilson, courtesy
Kate Keller, The Museum of 1990: 278. Lilian Sievernich: 180. PaceWildenstein Gallery: 276-277
Modern Art, © Oldenburg van The Museum of Modern Art, Film top; 413.
Oren Slor, courtesy Feature Inc.,
Bruggen Foundation: 92 bottom. Stills Archive: 26-27; 28 bottom; 33 Courtesy Paul Winkler: 465.
New York: 402.
© 1986 Mike Kelley: 123; 1990: top; 53; 54; 58 top; 65; 71; 72; 79;
© 1987-90 Kiki Smith: 276-277; © 1986 Terry Winters: 152; 1998:
84; 94; 102; 103; 107; 110; 121;
280-281. 472.
128; 147 bottom; 160 bottom; 161; 1996: 437; 1997: 452.
© 1986 Ellsworth Kelly: 139; 164 top; 181; 188; 236 bottom; 275 © 1987 David Wojnarowicz: 162;
Courtesy Holly Solomon Gallery:
1993: 353. bottom; 286; 287 bottom; 299 1988: 192; 1990-91: 311.
366.
© 1995 Toba Khedoori: 404-405. bottom; 356; 367 top; 422 bottom; © 1990 Christopher Wool: 260;
Courtesy Phil Solomon: 487.
434 bottom; 467. 1991: 313.
© 1983 Anselm Kiefer: 81; 1984:
Laurie Sparham, courtesy Miramax
97; 1984-85 Anselm Kiefer: 121; Roland Neveu: 236 top. John Wronn, The Museum of
Films: 478 bottom.
1993: 348. Courtesy New Yorker Films: Modern Art: 31 bottom left; 44; 50;
Courtesy Sperone Westwater: 185; 109; 115; 119; 126; 136-1 37 top;
Kino Entertainment: 295 bottom. 35 bottom left.
326. 138-139; 140 bottom; 144-145;
Courtesy Lewis Klahr: 457. © 1990 Jim Nutt: 287.
© 1986 Art Spiegelman: 122; 162; 164 bottom; 168 bottom; 175;
Helga Maria Klosterfelde GmbH: Mali Olatunji, The Museum of 1989: 240. 179 bottom; 191; 194; 198-199,
350. Modern Art: 25; 49; 81; 98; 127; 200, 201; 211; 212-213; 219; 239;
Brian Stanton, Croton-on-Hudson,
151; 154 bottom; 189; 171; 230 243; 246 top; 249; 253; 257;
Paige Knight, The Museum of New York, courtesy Mazda Motor
top; 261; 274; 380. 262-263; 264; 265; 276-277 bot
Modern Art: 32; 45; 88; 106; 120; Corporation, Irvine California: 86.
172; 216; 234; 237; 288; 289; 294; © 1984 Claes Oldenburg: 92. tom; 279; 282; 283; 287 top; 292;
© 1988 Mike and Doug Starn: 197. 302; 310; 313; 315; 317 bottom;
452. Courtesy Arthur Omar: 439 top.
Courtesy Joel Sternfeld: 275 top. 332; 349; 352 bottom; 371 bottom;
Courtesy Sabine Knust: 85. Bill Orcutt: 304 bottom. 374; 390-391 ; 395 top; 396 top;
Courtesy Bertrand Tavernier: 142.
© 1985 Jeff Koons, courtesy the Orcutt & Van der Putten, courtesy 398; 400; 412; 415; 420 right; 423;
artist: 129; 1986: 150; 1988: 207. Courtesy Jack Tilton Gallery: 426. 424 bottom; 425; 430 bottom; 437;
Andrea Rosen Gallery, New York:
© 1997 Fred Tomaselli: 442. 454; 459; 471 ; 475; 477 top; 478
Jennifer Kotter: 241. 433 top.
top; 481 bottom; 486 top; 494; 495.
© 1983 Jannis Kounellis: 69. © 1991 Jean-Michel Othoniel: 302. © 1992 Rosemarie Trockel: 337;
1993: 350. John Wronn, The Museum of
© 1982 BarbaraKruger:52; 1994:394. Courtesy PaceWildenstein Gallery: Modern Art, courtesy Marianne
443. © 1982 Turner Entertainment Co. Boesky Gallery: 481 top.
© 1992 Guillermo Kuitca: 326.
All rights reserved: 58 bottom.
Courtesy Pacific Film Archive, John Wronn, The Museum of
© 1988 Wolfgang Laib: 185.
Berkeley: 48; 166. © 1995 Luc Tuymans: 420; 1996: Modern Art, courtesy Brooke
Larry Lame, courtesy Barbara 421. Alexander Editions: 462-463.
Courtesy The Paragon Press:
Glasdstone Gallery: 303.
492-493. © 1993-94 Cy Twombly: John Wronn, The Museum of
Erik Landsberg, The Museum of 386-387. Modern Art, courtesy Guanguen
Courtesy Parkett: 438 top; 483
Modern Art: 63; 311 top; 378; 384 Inc, New York: 337 top.
bottom.
bottom; 394 bottom; 408.
553
 Barnard, John (British, born Bonvie, Rudolf (German, born Casebere, James (American,
A
1946): Formula 1 Racing Car 1947): Imaginary Picture I, 360. born 1953): Covered Wagons,
Acconci, Vito (American, 138.
641/2, 275. Boorman, John (British, born
born 1940): Instant House #2,
Barney, Matthew (American, 1933): Hope and Glory, 193. Cassavetes, John (American,
Drawing, 7; 20 Foot Ladder for
born 1967): Cremaster 4, 454; 1929-1989): Love Streams, 112.
Any Size Wall, 8; Adjustable Borden, Lizzie (American, born
WallBra, 326. C5: Elbocsatas, 524; The Cabi 1958): Born in Flames, 85. Cassell, Stephen: see Steven Holl.
net of Baby Fay La Foe, 554.
Ahwesh, Peggy (American, Borofsky, Jonathan (American, Celmins, Vija (American, born
born 1954): Martina's Barney, Tina (American, born born 1942): Stick Man, 91. Latvia 1939): Alliance, 46.
Playhouse, 252. 1945): Sunday New YorkTimes,
Bourgeois, Louise (American, Chadwick, Donald T. (American,
52; Sheila and Moya, 184.
Aisslinger, Werner (German, born France 1911): Articulated born 1936): Aeron Office Chair,
born 1964): Juli Armchair, 476. Bartel, Paul (American, 1938- Lair, 157; Ste Sebastienne, 364; 375.
2000): Eating Raoul, 63. Fenelon, 433; Ode a ma mere,
Alex, Sophie (German, born Chadwick, Helen (British,
1967): see cyan. Barth, Uta (American, born 440. 1953-1996): Number 11 from
1958): Ground #35, 424. Braghieri, Gianni: see Aldo the series Bad Blooms, 382.
Alford, Elizabeth (Dutch,
born 1944): see Office for Baselitz, Georg (German, born Rossi. Chagoya, Enrique (Mexican,
Metropolitan Architecture. 1938): Woman on the Beach, Brakhage, Stan (American, born 1953): The Return of the
35; Drinker, 36. born 1933): Commingled Macrobiotic Cannibal, 530.
Allen, Woody (American, born
1935): Zelig, 69; Broadway Basquiat, Jean-Michel Containers, 495. Child, Abigail (American, born
Danny Rose, 117. (American, 1960-1988): Breer, Robert (American, born 1950): Mayhem, 175.
Index of Almodovar, Pedro (Spanish,
Untitled, 123. 1926): Bang!, 161. Citterio, Antonio (Italian, born
Illustrations born 1949): Women on the Verge Baumgarten, Lothar (German, Brocka, Lino (Filipino, 1939 - 1950): Mobil Container System,
Compiledby Ines Katzenstein of a Nervous Breakdown, 229. born 1944): Untitled (Fish), 1991): Bona, 13. 396.
135. Clemente, Francesco (Italian,
Anderson, Laurie (American, Bronson, AA (Michael Tims)
This list is arranged alphabet born 1947): Puppet Motel, 449. Becher, Bernd (German, born (Canadian, born 1946): see born 1952): Conversion to Her,
ically by artist, and gives brief 1931): Water Towers, 198. General Idea 83; The Departure of the
Ando, Tadao (Japanese, born
biographical data and indicates Becher, Hilla (German, born Argonaut by Alberto Savinio
1941): Church of the Light, Bucklow, Christopher (British,
in boldface type the plate num 1934): Water Towers, 198. (Andrea de Chirico), 152.
Ibaraki, Osaka, Japan, 265; born 1957): 14,000 Solar
bers by which the artworks can
266; 267. Bell, Bryan: see Steven Holl. Images; 1:23 P.M. 13th June Close, Chuck (American, born
be located both in the plate
1992, 366. 1940): Dorothea, 453; Self-
section and the Checklist of Antoni, Janine (American, born Benning, Sadie (American,
Bahamas 1964): Gnaw, 348. Burden, Chris (American, born Portrait, 489.
Illustrations. born 1973): Me and Rubyfruit,
256. 1946): Medusa's Head, 378. Coen, Joel (American, born
Appelt, Dieter (German, born
1954): Fargo, 462.
1935): The Field, 324. Bergman, Ingmar (Swedish, Burton, Scott (American, 1939—
born 1918): Fanny and 1989): Pair of Rock Chairs, 37. Cole, Willie (American, born
Applebroog, Ida (American,
Alexander, 51. 1955): Domestic I. D., IV, 356;
born 1929): Chronic Hollow, Byars, James Lee (American,
Stowage, 499.
251. Berman, Zeke (American, 1932-1997): The Table of
born 1951): Untitled, 206. Perfect, 268. Connell, Christopher
Armellino, Stephen (American,
(Australian, born 1954):
born 1955): Bullet-Resistant Bickerton, Ashley (British,
Pepe Chair, 352.
Mask, 64. born 1959): Tormented Self- C
Portrait (Susie at Aries), 205. Conner, Bruce (American, born
Armleder, John (Swiss, born Cage, John (American, 1912— 1933): INKBLOTDRAWING,298.
1948): Gog, 467. Bigelow, Kathryn (American, 1992): Wild Edible Drawing
born 1952): Breakdown (The Copat, Pier: see Steven Holl.
Artschwager, Richard (Ameri No. 8, 297.
can, born 1923): Double Sitting, Loveless), 76. Coplans, John (British, born
Calatrava, Santiago (Spanish,
208; Five untitled works, 423. Bissell, Bradford (American, 1920): Self-Portrait, 134.
born 1951): Alamillo Bridge
Askoldov, Aleksandr (Russian, born 1957): "Animal" Wet Suit, and Cartuga Viaduct, Seville, Coppola, Francis Ford
born 1945): The Commissar, 215. Spain, 361; 362. (American, born 1939):
194. Bleckner, Ross (American, born The Godfather, Part III, 307.
Callis, Jo Ann (American, born
Attie, Shimon (American, 1949): Memorial II, 420. 1940): Woman Twirling, 118. Cragg, Tony (British, born
born 1957): Almstadtstrasse 43, Bloom, Barbara (American, 1949): Oersted Sapphire , 186.
Campana, Fernando (Brazilian,
Berlin, 1991 (1930), 316. born 1951): A Birthday Party born 1961): Vermelha Chair, Crewdson, Gregory (American,
for Everything , 543. 395. born 1962): Untitled from the
Blume, Anna (German, born series Natural Wonder, 225.
B Campana, Humberto (Brazilian,
1937): Kitchen Frenzy, 144. born 1953): Vermelha Chair, Cuevas, Ximena (Mexican, born
Babenco, Hector (Argentine,
Blume, Bernhard (German, 395. 1963): Bleeding Heart, 401.
born 1946): Pixote, 26.
born 1937): Kitchen Frenzy, 144. Campus, Peter (American, born cyan: Foundation Bauhaus
Baldessari, John (American,
Boltanski, Christian (French, 1937): Burning, 359. Dessau, Events, July-August
born 1931): Untitled, 155;
Goya Series: And, 502. born 1944): The Storehouse (La Canemaker, John (American, 1995, 455.
Grande Reserve), 201; Favorite born 1943): Bottom's Dream,
Banner, Fiona (British, born
Objects, 522. 65.
1966): Break Point, 511.
I 555
D E Frankenheimer,John (Ameri Godard,Jean-Luc (Swiss,born Hamilton,Ann (American,
can, born 1930): 52 Pick-Up, France 1930): Sauve quipeut born 1956): Seam, 419.
Dash,Julie (American,born Eastwood,Clint (American,
154. (la vie), 11; Puissancede la Hammons,David(American,
1951):Daughtersof the Dust,317. born 1930):HeartbreakRidge,
Frears, Stephen (British, born parole, 200; TheOldPlace, 552. born 1943): FreeNelson
Davies,Terence(British, born 168; Bird, 212; Unforgiven,
379; A PerfectWorld,380. 1941): TheGrifters,304. Gohlke,Frank (American,born Mandela, 179;African-American
1945):TheLongDayCloses,367. Flag, 287; HighFalutin, 288;
Friedlander,Lee (American, 1942):AerialView,Downed
Day,E. V. (American,born Ebentreich,Wilhelm(German,
Forestnear ElkRock,Approxi Out of Bounds,468.
born 1952): see cyan. born 1934): Untitled, 38; 39;
1968):Anatomyof Hugh mately TenMilesNorthwestof Hartley, Hal (American,born
40.
Hefner'sPrivateJet (1-5), 547. Eisenman,Peter (American, MountSt. Helens, Washington,
Friedman,Tom(American,born 1959):Amateur, 407.
DeJong, Constance (American, born 1932): Alteka Tower, 34.
Tokyo,311. 1965): Untitled, 442. Hatoum, Mona(Palestinian,
born 1950): Joyride, 218. Goldblatt,David(South born 1952): Silence,414;
Evans, Bob (American,born Friedrich, Su (American,born African,born 1930):Mother
Demand,Thomas(German, RubberMat, 466.
1950): TanDeltaForceFin, 434. 1954): TheTiesThatBind, 107. and child in their home after
born 1964): Room,474. Haufe, Daniela (German,born
Fritsch, Katharina (German, the destructionof its shelter by
de Meuron,Pierre (Swiss,born 1966): see cyan.
born 1956):Madonna, 49. officialsof the WesternCape
1950): see Herzog & de Meuron F Hejduk, John (American,
frogdesign, companydesign DevelopmentBoard, Crossroads,
Architects. Faigenbaum,Patrick (French, 1929-2000): A.E.ByeHouse,
(USA):MacintoshSEHome CapeTown.11 October1984,
Denari, Neil M. (American,born born 1954):MassimoFamily, 103. 14.
Computer,109.
1957): PrototypeArchitecture Rome, 148. Herbert, James (American,
Furuhashi, Teiji(Japanese, Golub,Leon (American,born
School,WilshireBoulevard, Fassbinder,Rainer Werner born 1938):River,126.
born 1960): Lovers,415. 1922): WhiteSquad, 180.
LosAngeles, California,376. (German,1945-1982): Berlin
Gonzalez-Torres,Felix Herzog,Jacques (Swiss,born
Diegues, Carlos(Brazilian,born Alexanderplatz,12; Lola, 30; Furuya, Seiichi (Japanese, born
(American,1957-1996): 1950): see Herzog & de Meuron
1940): ByeByeBrazil, 24. LiliMarleen,31. 1950): Graz,27; Schattendorf,
"Untitled"(Death by Gun), Architects.
28.
diCorcia,Philip-Lorca Faydherbe,Ben (Dutch, born 300;"Untitled"(PerfectLovers), Herzog& de MeuronArchitects:
(American,born 1953): Mary 1958): Festivalin the Hague Fuss, Adam (British, born
327/'Untitled" (Supreme Facadepanel from the Ricola
and Babe, 62; Francesco,127; (Woutde Vringer),353. 1961):Untitled, 226.
Majority),328;"Untitled" EuropeFactory and Storage
Marilyn;28 years old. Las Fellini, Federico (Italian, (Placebo), 329; "Untitled," Building, 389; RicolaEurope
Vegas,Nevada;$30, 369 1920-1993):And the Ship G 330. Factory and Storage Building,
Dijkstra, Rineke (Dutch, born Sails On, 79. Gallagher,Ellen (American, Graham,Paul (British, born 390; Signal Box, Basel,
1959): Tia,Amsterdam,the Fiedler, Detlef (German,born born 1965): Oh!Susanna, 445. 1956): CrouchedMan, DHSS Switzerland,451.
Netherlands,14 November1994. 1955): see cyan. WaitingRoom,Bristol, 111. Herzog,Werner (German,born
Tia,Amsterdam,the Nether Gehr,Ernie (American,born
Findley,Janice (American, 1941):Side/Walk/Shuttle, 320. Graumans,Rody (Dutch, born 1942): Fitzcarraldo, 47.
lands, 23 June 1994, 427.
born 1954): BeyondKabuki, 1968): 85 LampsLighting Hill, Gary(American,born
Diller,Elizabeth (American, Gehry,Frank (American,born
166. 1929): Fishdance Restaurant, Fixture, 365. 1951): WhyDo ThingsGet in a
born 1954): SlowHouse, Long Muddle? (Comeon Petunia), 98;
Fink, Larry (American,born Kobe,Japan, 162; Winton Greic,Konstantin (German,
Island, NewYork,238 InasmuchAs It Is Always
1941):Pearls, NewYorkCity, Guest House, Wayzata, born 1965): MayDayLamp,
Dittborn, Eugenio (Chilean, 147. Michigan, 163; BubblesLounge 512. AlreadyTakingPlace, 276.
born 1943): 8 Survivors,149. Chair, 187; CrossCheck Hirst, Damien (British, born
Finlay,Ian Hamilton (British, Groover,Jan (American,born
Divola,John (American,born born 1925): Artist's book and Armchair,341. 1943): Untitled, 82. 1965): TheLast Supper, 546.
1949): Untitled, 66. cards, 399. GeneralIdea (Group,estab Hirszman,Leon (Brazilian.
Groves,Kim(American,born
Dixon,Tom(British, born Fischl, Eric (American,born lished Canada 1968): AIDS 1964): see Morphosis. 1938-1987): TheyDon't Wear
1959): S-Chair,323. 1948):Portrait of a Dog, 183. projects, 1988-90, 277. BlackTie, 25.
Guo-Qiang,Cai (Chinese,born
Donegan, Cheryl(American, Flex DevelopmentB.V.(the German,Aleksei (Russian, born 1957): BorrowingYourEnemy's Holl, Steven (American,born
born 1962): Head, 404. Netherlands): CableTurtle, 1938): Khroustaliov,MyCar!, Arrows,536. 1947): AmericanMemorial
Dorsky,Nathaniel (American, 465. 516. Library,Berlin, Germany,199;
Gursky,Andreas (German,born
born 1943):Alaya, 189. Geyter,Xaveerde (Dutch, born NexusWorldKashii, Fukuoka,
Florschuetz,Thomas(German, 1955): Shatin, 413; Toys"H"
1944): see Officefor Metro Japan, 269; "Edgeof a City"
Douglas,Stan (Canadian, born 1957):In Self-Defense, Us, 542.
politan Architecture ParallaxTowers,NewYork,272.
born 1960): Historicset for 132. Guston, Philip (American,
"DerSandman" at D0KFILM Gilbertand George(Gilbert: Holland,Agnieszka (Polish,
Fontcuberta, Joan (Spanish, 1913-1980): Untitled, 16; 17;
Studios,Potsdam,Babelsburg, Italian, born 1943; George: born 1948):EuropaEuropa,301.
born 1955): Guillumeta 18; 19.
December1994, 457. Polymorpha,61. British, born 1942): Downto Holzer,Jenny (American,born
Dumas,Marlene(South Earth, 241. 1950): Truismsprojects, 417.
Forg, Giinter(German,born H
African,born 1953): Chlorosis, 1952): Stairway,217. Gilliam,Terry (American,born Horn, Roni (American,born
428. 1940):MontyPython's The Hadid, Zaha M. (British, born 1955): HowDickinsonStayed
Foster, Sir Norman (British, Iran 1950): Hong KongPeak
Dunham, Carroll(American, Meaningof Life, 70; Brazil, Home, 392; Island-Pooling
born 1935): Hong Kongand Competition,Hong Kong, 334.
born 1949): Shadows,236; 136. Waters.Vol.IVfrom the series
Shanghai Bank, Hong Kong,
Ship, 545. Gober,Robert (American,born Halley,Peter (American,born ToPlace, 435.
125.
1954): Untitled, 145; 343; 1953): ExplodingCellWallpaper, Hou Hsiao-hsien (Chinese,
Dunning, Jeanne (American, Frank, Robert (American,born
344; 345; 418; Cat Litter, 263; 443. born 1947): Summerat
born 1960): Untitled, 473. 1923): Boston,March20, 1985,
Newspaper,346. Grandpa's, 108.
119.

556 |
 the Corner and Be Ashamed of Leigh, Mike (British, born Madden, John (British, born
Hubley, Faith (American, born Jones, Kim (American, born
Yourself, 274. 1943): Meantime, 84. 1949): Shakespeare in Love,
1924): Witch Madness , 553. 1944): Untitled, 412.
527.
Hujar, Peter (American, 1934- Jones, Terry (British, born Kita, Toshiyuki (Japanese, born Leirner, Jac (Brazilian, born
1942): Wink Lounge Chair, 15; 1961): Lung, 185. Maggiore, Ray (Dutch, born
1987): Portrait of David 1942): Monty Python's The
The Multilingual Chair, 309. 1944): see Office for Metro
Wojnarowicz, 29. Meaning of Life, 70. Lemieux, Annette (American,
politan Architecture
Huillet, Daniele (French, born Jongerius, Hella (Dutch, born Klahr, Lewis (American, born born 1957): Stolen Faces, 321.
1956): Pony Glass, 505. Malle, Louis (French, 1932-
1936): Sicilia!, 544. 1963): Soft Vase, 429. Leone, Sergio (Italian, 1929-
1995): Atlantic City, 21.
Huston, John (American. Jordan, Neil (Irish, born 1950): Kochta, Brigitte (German, born 1989): Once upon a Time in
1958): see Office for Metro America, 96. Marden, Brice (American, born
1906-1987): The Dead, 192. The Company of Wolves, 97.
politan Architecture. 1938): Cold Mountain Series,
Leonilson, Jose (Brazilian,
Zen Study 1 (Early State), 280;
Kohn, Martin (Canadian, born 1953-1994): To Make Your Soul
I K Cold Mountain Series, Zen Study
1953): see Office for Metro Close to Me, 255; I Am Your
Idemitsu, Mako (Japanese, Kabakov, Ilya (Russian, born 3 (Early State) , 281; Rain, 342;
politan Architecture. Man, 363.
born 1940): Great Mother Part 1933): The Man Who Flew Into Vine, 388.
Koolhaas, Rem (Dutch, born Levine, Sherrie (American,
II: Yumiko, 89. His Picture from the Ten Mari, Enzo (Italian, born
1944): see Office for Metro born 1947): Untitled (After
Characters series, 214. 1932): Flores Box, 332.
Imamura, Shohei (Japanese, politan Architecture. Kasimir Malevich and Egon
born 1926): Vengeance Is Mine, Kapoor, Anish (British, born Schiele), 102. Marker, Chris (French, born
Kooning, Willem de (American,
22. India 1954): A Flower, A Drama 1921): The Last Bolshevik (Le
born the Netherlands, 1904- Levinson, Barry (American,
Like Death, 164; Untitled (Red Tombeau d'Alexandre) , 383.
Immendorff, Jorg (German, 1997): Pirate (Untitled II) , 42; born 1942): Diner. 56; Tin Men,
Leaf), 191; Wounds and Absent
born 1945): Cafe Deutschland Untitled VII, 133. 173. Maurer, Ingo (German, born
Objects, 518. 1932): Lucellino Wall Lamp,
(Style War), 20; Futurology, 86.
Koons, Jeff (American, born Levinthal, David (American,
Kawasaki, Kazuo (Japanese, 354.
Inoue Pleats Co., Ltd. Wrinkle 1955): Three Ball 50/50 Tank, born 1949): Untitled from the
born 1949): Carna Wheelchair,
P., 459. 137; Rabbit, 158; Pink Panther, series Cowboys, 243. Mayne, Thorn (American, born
248. 1944): see Morphosis.
Ishiguro, Takeshi (Japanese, 216. Libeskind, Daniel (Polish, born
KCH0 (Alexis Leyva Machado)
born 1969): Rice Salt-and- Kounellis, Jannis (Greek, born 1946): Berlin Museum with Mazda Motor Corporation
(Cuban, born 1970): In the Eyes
Pepper Shakers, 411. 1936): Untitled, 67. Jewish Museum, Berlin, 498. (Japan): MX5 Miata Automobile
of History, 447; The Infinite
Isozaki, Arata (Japanese, born Taillights, 87.
Column I, 469. Kruger, Barbara (American, Lichtenstein, Roy (American,
1931): City in the Air, "Ruin of born 1945): Untitled (You 1923-1997): Bauhaus Stairway, McCarthy, Paul (American,
Keller, Gotz (German, born
Hiroshima," 285; City in the Invest in the Divinity of the 221; Interior with Mobile, 351. born 1945): Sketchbook
1958): see Office for Metro
Air, "Incubation Process," 286; Masterpiece), 48; Public proj "Heidi", 349; Heidi, 350.
politan Architecture Ligon, Glenn (American, born
Convention Hall, Nara, Japan, ects and illustrated book, 432. McCollum, Allan (American,
1960): Untitled (How it feels
357. Kelley, Mike (American, born
Kubrick, Stanley (American, to be colored me. . . Doubled), born 1944): 40 Plaster
1954): Exploring (from "Plato's
Ito, Toyo (Japanese, born 1928-1999): The Shining, 1; 335; Runaways, 386; Surrogates, 110.
Cave, Rothko's Chapel Lincoln's
1941): Shimosuma Municipal Full Metal Jacket, 170. White #19, 438. Meda, Alberto (Italian, born
Profile" project), 131; Untitled,
Museum, Shomosuma-machi, 1945): Light Light Armchair,
296; Heidi, 350. Kuchar, George (American, Loesch, Uwe (German, born
Nagano Prefecture, Japan, 318; 182; Long Frame Chaise
born 1942): Creeping Crimson, 1943): Point (Punktum), 57.
Mediatheque Project, Sendai, Kelly, Ellsworth (American,
176. Longue, 437.
born 1923): Three Panels: Loktev, Julia (Russian, born
Japan, 446.
Orange, Dark Gray, Green, 146; Kuitca, Guillermo (Argentine, 1969): Moment of Impact, 513. Merz, Mario (Italian, born
Ivory, James (American, born 1925): Places with No Street,
Red-Orange Panel with Curve, born 1961): Untitled, 355. Long, Charles (American, born
1928): A Room with a View, 153. 195.
391. Kunuk, Zacharias (Inuik, born 1958): Internalized Page
Kentridge, William (South 1957): Saputi, 384. Project, 515. Messager, Annette (French,
J African, born 1955): Ubu Tells Low, Glen Oliver (German, born
born 1943): My Vows, 310.
Kuramata, Shiro (Japanese,
Jablonsky, Siegfried (German, the Truth, 501; Seated Couple 1934-1991): How High the 1959): Mobil Container System, Meulen, Jos van der (Dutch,
born 1950): see cyan. (Back to Back), 538; Untitled Moon Armchair, 143; Miss 396. born 1958): Paper Bags
Jacobs, Ken (American, born (drawing for Stereoscope), 539. Blanche Chair, 253. Wastebaskets, 405.
Lucas, Kristin (American, born
1933): Disorient Express, 480. Khedoori, Toba (Australian, Kurosawa, Akira (Japanese, 1968): Host, 486. Mihailov, Boris (Ukranian, born
Jarman, Derek (British, 1942- born 1964): Untitled (Doors), 1910-1998): Dreams, 279. 1938): Untitled from the series
Lucente, Sam (American, born
444. U Zemli (On the Ground), 313;
1994): Blue, 394. 1958): Leapfrog Computer, 233.
Kiefer, Anselm (German, born 314; 315.
Jarmusch, Jim (American, born L Lucier, Mary (American, born
1953): Stranger Than Paradise, 1945): DerRhein, 81; Departure Mikhalkov, Nikita (Russian,
1944): Ohio at Giverny: Memory
from Egypt, 101; The Red Sea, Laib, Wolfgang (German, born born 1945): Dark Eyes, 177.
116. of Light, 190.
121; Grane, 385. 1950): The Passageway, 197.
Jia Zhang Ke (Chinese, born Miller, George (Australian, born
Lynch, Peter: see Steven Holl.
Kieslowski, Krzysztof (Polish, Lanzmann, Claude (French, 1945): Mad Max 2 (The Road
1970): Xiao Wu, 523.
1941-1996): Blind Chance, 50. born 1925): Shoah, 129. Warrior), 43.
Johns, Jasper (American, born
Killip, Chris (British, born Lawler, Louise (American, born Montgomery, Monty (American)
1930): Summer, 122; Untitled,
1946): Untitled, 246, 306. 1947): Does Andy Warhol Make M Breakdown (The Loveless) , 76.
458.
You Cry?, 220.
Jonas, Joan (American, born Kippenberger, Martin (German, Maas, Winy (Dutch, born Morell, Abelardo (American,
1953-1997): The World of the Lee, Spike (American, born 1944): see Office for Metro born 1948): Light Bulb, 333.
1936): Volcano Saga, 258.
Canary, 223; Martin, Stand in 1957): Do the Right Thing, 245. politan Architecture
I 557
 Oldenburg,Claes(American, MyThumb),339; No Title(The Ross, Judith Joy (American, Schulze, Gundula(German,
Mori,Mariko(Japanese,
born 1929):Proposalfor a SketchIs), 371; Untitled(Justly born 1946): Untitled from born 1954):Dresden,260.
born 1967): Star Doll, 535.
Monumentto the Survivalof Felt and BrilliantlySaid), 483. Eurana Park, Weatherly, Schiitte, Thomas(German,born
Morphosis:6th Street House Pennsylvania,54; Untitled
the Universityof El Salvador: Peyton, Elizabeth (American, 1954): Untitled, 264.
Project, Santa Monica, from Portraits at the
BlastedPencil (That Still born 1965):Bosie, 532. Scofidio, Ricardo (American,
California,207. VietnamVeteransMemorial,
Writes),95. born 1935): SlowHouse, Long
Moukhin,Igor (Russian, born Piano, Renzo (Italian, born Washington,D.C.,104.
Omar,Arthur (Brazilian,born 1937): KansaiInternational Island, NewYork,238.
1961):Moscow,May9, 1996, Rossi,Aldo (Italian, 1931-
1948): TheLast Mermaid,485. Airport, Osaka,Japan, 410. Scorsese, Martin (American,
481. 1997): Cemeteryof San Cataldo,
Opie,Julian (British, born Pittman, Lari (American,born born 1942): RagingBull, 9; The
Mullican,Matt (American,born Modena,Italy, 105; 106.
1958): Imagine YouAreDriving, 1952): Countingto Welcome Kingof Comedy,78; TheLast
1951):Untitled, 222. Rothenberg, Susan (American,
Cars?;Imagine YouAre Walking; One'sDefrosting,278. Temptationof Christ,232;
Muniz,Vik (Brazilian,born Cityscape?; Gary,Popstar; born 1945): Biker, 140; GoodFellas,308; TheAgeof
1961):Mass from the series Polke, Sigmar (German,born Boneman, 141.
Landscape?,541. Innocence,400.
Pictures of Chocolate,487. 1941): Watchtower,93; The
O'Reilly,John (American,born Ruff, Thomas(German,born Scott, Ridley (British, born
Goat Wagon,368; Bulletproof
Murray,Elizabeth (American, 1930): WarSeries#34: PFC 1958): Portrait, 234. 1937): BladeRunner, 60.
Vacationmagazine, 452.
born 1940): Her Storyby Anne USMC Killedin Action,Gilbert Rupp, Sheron (American,born
Prince, Richard (American, Serra, Richard (American,born
Waldman,294; Dis Pair, 295. Islands, 1943,Age23, 312. 1943): Untitled(Bayside,
born 1949): Entertainers, 68; 1939):IntersectionII, 358;
Orozco,Gabriel(Mexican,born Ontario,Canada), 456. TorquedEllipseIV, 517; Out of
Untitled, 289.
N 1962):Maria,Maria,Maria, Ruppersberg,Allen (American, RoundXII, 549; Switch,550.
Puryear, Martin (American,
Nauman, Bruce (American, 374; Light ThroughLeaves;471; born 1944): Preview,202; Shapiro, Joel (American,born
born 1941): Greed'sTrophy,
born 1941):Human/Need/Desire, I LoveMyJob, 521. 114; Untitled, 494.
Remainders:Novel,Sculpture, 1941):Untitled, 271.
73; CrossedStadiums, 94; Dirty Othoniel, Jean-Michel (French, Film, 337.
Sherman, Cindy(American,
Story, 172; LearnedHelpless born 1964): TheForbidden, Ruscha, Edward(American, born 1954): UntitledFilmStill
ness in Rats (Rockand Roll 325. R born 1937): HollywoodIs a #59, 2; UntitledFilmStill #58,
Drummer),213; Modelfor Oursler,Tony(American,born Rainer, Arnulf (Austrian, born Verb,77; Jumbo, 159; ThatIs 3; UntitledFilmStill#57, 4;
AnimalPyramidII, 240. 1957): Joyride, 218. 1929): BlueBarn, 490; Greens, Rightand OtherSimilarities,254. UntitledFilmStill#56, 5;
Neutelings,Willem-Jan(Dutch, 491; BlueNest, 492; RedMan, Ryman,Robert (American, UntitledFilmStill #54, 6;
born 1959): see Officefor 493. born 1930): Pace, 115. Untitled#96, 41; Untitled
MetropolitanArchitecture P Rainer, Yvonne(American, #197, 230; Untitled#250, 347.
Newson,Marc(Australian, born Pacino, Al (American,born born 1934): Privilege,291. Sherwood,Bill (American,
1940): Lookingfor Richard, S
1963): WoodChair,224; Rand, Paul (American,1914- 1952-1990): Parting Glances,
OrgoneChaiseLongue, 257. 478. Salcedo, Doris(Colombian, 156.
1998): IBM,59.
Pagowski,Andrzej (Polish, born 1958): Untitled, 448.
Nicosia,Nic (American,born Rauschenberg,Robert Sicilia,Jose Maria(Spanish,
1951):Real Pictures#11, 227. born 1953): Wolf'sSmile Salle, David(American,born born 1954): Twovolumes of
(American,born 1925):
(UsmiechWilka),45. 1952):MuscularPaper, 124. Le Livredes millenuits et une
Nixon,Nicholas(American, BookwormsHarvest, 528.
born 1947): ChestnutStreet, Paik, NamJune (American, Sanchez, Juan (American,born nuit, 464.
Ray, Charles(American,born
born Korea 1932): Untitled, 1954): For don Pedro, 370. Sikander, Shahzia (Pakistani,
Louisville,Kentucky,53; 1953): FamilyRomance,402.
C.C.,Boston, 80. 406. Sanders, Joel (American,born born 1969):Anchor,551.
Remy,Tejo (Dutch, born 1960):
Parr, Martin (British, born 1956): KyleResidence, Simmons,Gary(American,
Nouvel,Jean (French, born "YouCan't LayDownYour
1952):MidsummerMadness, Houston, Texas,450. born 1964): boom, 470.
1945): CarrierFoundation Memory"Chest of Drawers,331.
ConservativeParty SocialEvent, Sapper, Richard (German,born
for ContemporaryArt, 397; Reuse, Luc (Belgian,born Simmons,Laurie (American,
LessTable, 436. 261. 1932): LeapfrogComputer,233.
1955): see Officefor Metro born 1949): WalkingHouse,
Nutt, Jim (American,born Partz, Felix (Ron Gabe) Sayles,John (American,born 242.
politan Architecture
(Canadian, 1945-1994): see 1950):LoneStar, 463.
1938): Drawingfor Fret, 303. Richter, Gerhard(German,born Simpson,Lorna (American,
GeneralIdea.
1932): October18, 1977, 210; Scales, Jeffrey (American,born born 1960): Wigs(Portfolio),
Patterson, Simon (British, born 1954): 12:54, A. Philip
0 128Detailsfrom a Picture 409.
1967): TheGreatBear, 377. RandolphSquare, 174.
(Halifax1978), 520. Smith, Kiki(American,born
Officefor Metropolitan Peart, Stephen (British, born
Architecture: CityHall Riggs,Marlon(American,1957- Scher, Jeff (American,born 1954):A Man, 292; Untitled,
1958): "Animal"Wet Suit, 215. 1954): Gardenof Regrets,431. 293; Constellations,482;
Competition,the Hague, the 1994):TonguesUntied,231.
Penck, A.R. (RalphWinkler) Schiller, Greta (American,born Endocrinology,500.
Netherlands, 196; National Rist, Pipilotti (Swiss,born
(German,born 1939): 1954): BeforeStonewall,113. Solomon,Phil (American,born
Libraryof France (TresGrande 1962): EverIs OverAll, 510.
Bibliotheque), Paris, 247; Nightvision,44. 1954): TwilightPsalmII:
Roma,Thomas(American,born Schlesinger,John (American,
Palm Bay Seafront Hotel and Penone, Giuseppe(Italian, born born 1954): Untitled, 128. WalkingDistance, 540.
1950): Untitled from the series
ConventionCenter, Florida, 1947): Thirty-Three
Herbs,259. Sonbert, Warren(American,
ComeSunday, 422. Schmerberg,Ralph (German,
299. Pesce, Gaetano (Italian, born 1947-1995): Short Fuse, 319.
Rosenberg,Robert (American, born 1965): "LosToros,"a
Ofili,Chris (British, born 1939): Feltri Chair, 165. commercialfor Nike, 534. Spano, Michael(American,
born 1955): BeforeStonewall,
1968): North Wales,472; Pettibon, Raymond(American, 113. born 1949): Photogram-
Schmidt, Michael(German,
Untitled, 529; Princeamongst born 1957):No Title(FillingIn MichaelSpano, 90.
born 1945): U-ni-ty(Ein-heit),
Thieves,548. So . . . ), 338; No Title(Under 421.

558 |
Spiegelman,Art (American, Thek, Paul (American,1933- Viola,Bill (American,born Woo,John (Chinese,born
born 1948):Maus:A Survivor's 1988): TheSoulIs the Needfor 1951):Anthem,88; I Do Not 1946): TheKiller,250.
Tale, 130; Lead Pipe Sunday, the Spirit, 228. KnowWhatIt Is I AmLike, 142; Wool,Christopher(American,
249. Therrien, Robert (American, Stations, 416. born 1955):Untitled, 273; 340.
Starck, Philippe (French, born born 1947):No Title,393.
1949): Jim Nature Portable Thomas,Jeroen (Dutch, born W Y
Television,426; La Marie 1952): see Officefor Metro Walker,Kara (American,born Yamamoto,Yoji(Japanese,
Folding Chair,533. politan Architecture 1969):Freedom:A Fable or A born 1943):A River,23.
Starn, Mikeand Doug Tiravanija,Rirkrit (Thai,born CuriousInterpretation of the Wit
(American,born 1961):Double Yanagi,Yukinori(Japanese,
1961): Untitled(apron and Thai of a Negressin TroubledTimes,
born 1959): WanderingPosition,
Rembrandtwith Steps, 209. pork sausage), 403. 484; African/American,525.
507.
Steiner, Ron (American,born Tomaselli,Fred (American, Wanders,Marcel(Dutch, born
YangFengliang (born China):
1952): see Officefor Metropoli born 1956):BirdBlast, 488. 1963): Knotted Chair,441.
tan Architecture Ju Dou, 302.
TootsZynsky,MaryAnn Wang,Wayne(American,born
Steinmetz, Mark (American, Yimou,Zhang (Chinese,born
(American,born 1951):Bowl, Hong Kong 1949): ChanIs
born 1961):Knoxville,373. 1950): Ju Dou, 302.
99. Missing,55.
Stella, Frank (American,born Yokoo,Tadanori (Japanese,
TorayIndustries, Inc.: Warhol,Andy (American,1928-
1936): Giufa,la luna, i ladri e born 1936): Japanese Society
EncirclingFishingNet, 479. 1987):Rorschach,100; TheLast
le guardie from the Conesand for the Rightsof Authors,
Torre, Graciella(Spanish, Supper, 167; Camouflage,188.
Composers,and Publishers,203;
Pillars series, 92. Weems,CarrieMae (American,
born 1959): see Officefor Fancydance,237.
Sternfeld, Joel (American,born MetropolitanArchitecture. born 1953): YouBecamea
1944): Houston,Texas,74; Yuskavage,Lisa (American,
Trinh, Minh-haT. (American, ScientificProfile,from the
born 1962):Asspickerand
CanyonCountry,California.75; series FromHere I SawWhat
born Vietnam1952):Naked Socialclimberfrom the series
AnAttorneywith Laundry,Bank Happened and I Cried,439.
Spaces:LivingIs Round, 139. The Bad Habits, 531.
and Fourth, NewYork,NewYork, Wegman,William(American,
290. Trockel,Rosemarie(German,
born 1952): Untitled, 372; born 1943): BlueHead, 58.
Stone, Oliver(American,born Z
WhatIt Is Liketo Be WhatYou Weiner,LawrenceCharles
1946):Platoon, 169;Bom on the (American,born 1942): Rocks Zando, Julie (American,born
AreNot, 387.
Fourthof July, 244; JFK,322. upon the Beach/Sand upon the 1961):Let's PlayPrisoners,219.
Troxler,Niklaus(Swiss,born
Stumpf,William(American, Rocks,211. Zhang Peili (Chinese,born
1947):McCoy /Tyner/Sextet, 10;
born 1936): Aeron OfficeChair, Welling,James (American,born 1957): Eating, 508.
A Tributeto the Musicof
375. 1951): Untitled#46, 32.
TheloniousMonk,151. Zittel, Andrea (American,born
Straub, Jean-Marie (French, West, Franz (Austrian, born 1965):A-ZEscapeVehicle:
Tschumi,Bernard (Swiss,
born 1933): Sicilia!,544. 1947): Spoonerism,477; Customizedby AndreaZittel,
born 1944): The Manhattan
Struth, Thomas(German,born Transcripts.Episode4: The Hangarounds,504. 475.
1954):Pantheon, Rome, 282; Block, 33, Pare de la Villette, Whiteread,Rachel (British, Zontal, Jorge (Jorge Saia)
South LakeApartments3, Paris, France 120. born 1963): Untitled(Room), (Italian, 1944-1994): see
Chicago,283; South Lake 398; Untitled(Paperbacks), GeneralIdea.
Turrell,James (American,born
Apartments4, Chicago,284. 503; WaterTower,537.
1943):First Light,SeriesC, 270;
Sudo, Reiko (Japanese, born A FrontalPassage, 430. Williams,David(American,
1953): Jellyfish Fabric, 381; born 1946): Thirteen,509.
Tuymans,Luc (Belgian,born
OrigamiPleat Scarf, 496;
1958):A FlemishIntellectual, Williams,Sue (American,born
Shutter, 497.
460; TheHeritagePJ, 461; The 1954):Mom'sFootBlue and
Swatch (Switzerland):GB001 Blue Oak, 526. Orange,506.
Watch, 71; GK100 Jellyfish
Twombly,Cy(American,born Wilmarth, Christopher
Watch, 72.
1928): TheFourSeasons, 425. (American,1943-1987): Self-
Portrait with SlidingLight, 181.
T Winkler,Paul (Australian, born
V
Tarantino, Quentin (American, Germany1939): Rotation, 514.
Vasulka,Steina (Icelandic,
born 1963): Pulp Fiction,408. Winokur,Neil (American,born
born 1940):In the Land of the
Tavernier,Bertrand (French, ElevatorGirls,262. 1945): Glassof Water,305.
born 1941):RoundMidnight, Winters,Terry (American,born
Velez,Edin (Puerto Rican,
150. 1949):Folio, 160; Graphic
1951):Danceof Darkness,235.
Taviani,Paolo (Italian, born Primitives,519.
Vinoly,Rafael (American,born
1931): GoodMorningBabylon, Wojnarowicz,David(American,
Uruguay 1944): Tokyo
178. 1954-1992): Fire, 171; The
International Forum, Tokyo,
Taviani,Vittorio (Italian, born Japan, 239. Weightof the Earth, Part I, 204;
1929): GoodMorningBabylon, Untitled, 336.
178.
Trustees of Ronald S. Lauder EdwardLarrabeeBarnes* Isabel Carter Stewart
Chairmanof the Board CelesteBartos* Mrs.DonaldB. Straus*
The Museum H.R.H.Duke Franz of EugeneV.Thaw**
of Modern Art Agnes Gund Bavaria** Jeanne C.Thayer*
President Mrs.Patti CadbyBirch** G. RichardThoman
Leon D. Black Joan Tisch
Sid R. Bass ClarissaAlcockBronfman Paul F. Walter
DonaldB. Marron Hilary P. Califano ThomasW.Weisel
Robert B. Menschel ThomasS. Carroll* GaryWinnick
Richard E. Salomon Patricia Phelps de Cisneros Richard S. Zeisler*
Jerry I. Speyer MarshallS. Cogan
ViceChairmen Mrs.Jan Cowles** * LifeTrustee
DouglasS. Cramer ** HonoraryTrustee
DavidRockefeller* LewisB. Cullman** *** DirectorEmeritus
ChairmanEmeritus Elaine Dannheisser**
GianluigiGabetti*
Mrs.Henry Ives Cobb* Paul Gottlieb
ViceChairmanEmeritus Vartan Gregorian Ex Officio
MimiHaas
John Parkinson III Mrs.MelvilleWakemanHall* GlennD. Lowry,Director
Treasurer GeorgeHeard Hamilton*
Kitty CarlisleHart** Patty Lipshutz,Secretary
AlexandraA. Herzan
S. RogerHorchow RudolphW.Giuliani
BarbaraJakobson Mayorof the Cityof NewYork
Philip Johnson*
WernerH. Kramarsky Alan G. Hevesi
Mrs.Henry R. Kravis Comptrollerof the Cityof
June NobleLarkin* NewYork
DorothyC. Miller**
J. Irwin Miller* Jo CaroleLauder
Mrs.Akio Morita Presidentof TheInternational
Philip S. Niarchos Council
James G. Niven
Peter Norton MelvilleStraus
Richard E. Oldenburg*** Chairmanof The
MichaelS. Ovitz ContemporaryArts Council
Peter G. Peterson
Mrs.MiltonPetrie**
GiffordPhillips*
EmilyRauh Pulitzer
DavidRockefeller,Jr.
Anna MarieShapiro
Joanne M. Stern*

560 t
USeurn iiMiini^ of ModernArt

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