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  • Art 3101 Powerpoint Two Powerpoint Presentation Two Dr. David Ludley
  • William Wegman, On Set1994Color Polaroid, 24 x 20 inches 2005 William WegmanCourtesy the Artist
  • William Wegman,Canon Aside, diptych2000Color Polaroid, 24 x 20 inchesTop image of vertical diptych 2005 William WegmanCourtesy the Artist
  • William Wegman, Miss Mit1993Color Polaroid, 24 x 20 inches 2005 William WegmanCourtesy the Artist
  • William Wegman,Stepmother1992Color Polaroid, 24 x 20 inches 2005 William WegmanCourtesy the Artist
  • Bruce Nauman, One Hun- dred Live and Die 1984Neon tubing mounted on four metal monoliths, 118 x132 1/4 x 21 inchesCollection Fukake PublishingCo., Ltd., NaoshimaContemporary Art Museum, Kagawa, JapanCourtesy SperoneWestwater, New York, Bruce Nauman/ArtistsRights Society (ARS), NewYork. "Im surprised whenthe work appears beautiful,and very pleased. And I think work can be very good andvery successful without beingable to call it beautiful,although Im not clear aboutthat. The work is good whenit has a certain completeness, and when its got a certaincompleteness, then itsbeautiful." Bruce Nauman
  • Bruce Nauman, ViolinsViolence Silence1981-1982Neon tubing with clear glass tubing suspension frame,60 1/2 x 66 1/2 x 6 inchesOliver-Hoffmann FamilyCollection, ChicagoCourtesy Leo CastelliGallery, New York, Bruce Nauman/ArtistsRights Society (ARS),New York
  • Bruce Nauman,Room with My Soul Left Out, Room That Does Not Care1984, Celotex, steel grate, yellow lights, 408 x 576 x 366Flick Collection. Courtesy Sperone Westwater, New York, BruceNauman/Artists Rights Society (ARS), New York"[Living in New Mexico] lets me do the kinds of things outside that I couldnt do if I lived in town, in the helps me to have a sense of place and security to go in the studio, because thats the place where you make yourselfinsecure. Bruce Nauman
  • Bruce Nauman, Vices and Virtues, installation views, 1983-1988Neon tubing and clear glass tubing, mounted on aluminum support grid, height 84Inches.The Stuart Collection, University of California, San Diego. Purchase with fundsfrom the Staurt Foundation and the National Endowment for the Arts. CourtesySperone Westwater, New York, Bruce Nauman/Artists Rights Society (ARS),
  • Bruce Nauman, Good Boy, Bad Boy, details,1985. Two color videomonitors, two videotape players, two videotapes (color, sound),dimensions variable. Edition of 40. Courtesy Donald Young Gallery,Chicago, Bruce Nauman/Artists Rights Society (ARS), New York"There wasnt a specific duration...this thing can just repeat and repeat and repeat, and youdont have to sit and watch the whole thing. You can watch for a while, leave and go havelunch or come back in a week, and its just going on. And I really liked that idea of the thing justbeing there. The idea being there so that it became almost like an object that was there, thatyou could go back and visit whenever you wanted to." Bruce Nauman
  • Bruce Nauman,Clown Torture, installation view,1987Four color video monitors, four speakers, four videotape players, two videoprojectors, four videotapes (color, sound), dimensions variable. Courtesy Donald Young Gallery, Chicago, Bruce Nauman/Artists Rights Society (ARS), NewYork
  • Kerry James Marshall, "Better Homes Better Gardens 1994. Acrylic andcollage on unstretched canvas, 100 x 142 inches. Denver Art Museum, SpecialFund. Courtesy Jack Shainman Gallery, New York. "The subject matter seemsin some ways less dramatic than the kinds of subjects represented in traditional history painting. Butthats also a part of what the painting is about. Its about those figures being represented that way: therelationship between this representation of figures and the absence of those kinds of representationsin that historical tradition of grand narrative history painting." Kerry James Marshall
  • Kerry James Marshall, "Many Mansions 1994. Acrylic and collage on unstretchedcanvas, 114 x 135 inches. Art Institute of Chicago, Chicago, IL. Courtesy Jack ShainmanGallery, New York. "The painting is built around what you could call a very classicallyRenaissance, architectural, or geometric structure. The most obvious thing you can see isthis pyramidal, triangulated structure that the figures are fitted into...One of the reasons Iused that structure was because when I started out the artists and works that I reallyadmiredlike Gricaults The [Raft] of the Medusathat whole genre of history painting,that grand narrative style of painting, was something that I really wanted to position my workin relation to. And so in order to achieve a similar kind of authority that those paintings had...I had to adopt the similar structural format to develop my painting." Kerry James Marshall
  • Kerry James Marshall, Untitled (Altgeld Gardens) 1995. Acrylic and collage on can-vas, 78 1/2 x 103 inches. Johnson County Community College, Overland Park, KSCourtesy Jack Shainman Gallery, New York. "The initial development of thatunequivocally black, emphatically black figure was so that I would use them as figuresthat function rhetorically in the painting...And one of the things that I had been thinkingabout when I started to develop that figure was the way in which the folk and folklore pfblackness always seemed to carry a derogatory connotation...A part of what I was thinkingto do with my image was to reclaim the images of blackness as an emblem of power,instead of an image of derision. Kerry James Marshall
  • Kerry James Marshall, "Our Town 1995. Acrylic and collage on unstretched canvas,100 x 124 inches. Collection of the artist, Chicago. Courtesy Jack Shainman Gallery,New York. "The condition of invisibility that Ralph Ellison describes [in Invisible Man] isnot a kind of transparency, but its a psychological invisibility. Its where the presence ofblack people was often not wanted and denied in the American mindset. And so what Iset out to do was to develop a figure or a form that would represent that condition ofinvisibility, where you had an incredible presence, but there was a way in which youcould sometimes be seen and not seen at the same time. Kerry James Marshall
  • Kerry James Marshall,RHYTHM MASTR, prepara-tory drawing,1999-2000.Photocopy of ink drawing, anddesign marker on paper, 17 x11 inches. Courtesy the Artist"I thought what I would do withthis project would be to take aform that is, in some ways,already undervalued in America,take a subject thats under-represented, and try to develop acomic strip with a set ofcharacters that had culturalsignificance but also allowed fora kind of imaginative play andinspiration. What I hit on as asubject was this idea that, forblack people, the set of superheroes we come to know any-thing about have a lot to do withWest African religious gods in asense." Kerry James Marshall
  • Kerry James Marshall,Souvenir II 1997Acrylic, paper, collage, andglitter on unstretched canvas108 x 120 inches. AddisonGallery of American Art,Phillips Academy, Andover,Massachusetts. CourtesyJack Shainman Gallery,New York. "I dont think thatsimply because I am anartist, or because anybody isan artist, that people ought togive their attention to thethings that weve made. Insome ways we have to earnour audiences attention, andone of the ways we earn ouraudiences attention is tomake things that arephenomenologicallyfascinating." Kerry James Marshall
  • Kerry James Marshall, Souvenir IV1998. Acrylic, collage, and glitter on unstretchedcanvas, 108 x 156 inches. Whitney Museum of American Art, New York. Purchase withfunds from the Painting and Sculpture Committee Photo by Tom Vand Eynde. CourtesyJack Shainman Gallery, New York. "The way I see beauty is as a state of being for athing that has a kind of fascination about it, or as a thing that presents a certain kind offascination to you as a viewer. Its certainly something thats captivating; its somethingsthats compelling. Beauty is a phenomenological experience, and a basic component ofit is intrigue." Kerry James Marshall
  • Kerry James Marshall, "Mementos"1998. Installation at the Renaissance Society,University of Chicago. Over-sized stamps and "Souvenir" series. Courtesy Jack ShainmanGallery, New York. "I wouldnt say that I never think about beauty as an aesthetic issue.But I certainly think its a much more complicated issue then its imagined to be. I thinksometimes when people think of beauty they think of prettiness as a sign of beauty, but itsa lot more complicated and a lot deeper than that." Kerry James Marshall
  • Maya Lin, Crater Series, detail. 199711 beeswax sculptures, dimensionsvariable, glass shelf 1 1/2 x 96 x 10 inchesCourtesy Gagosian Gallery, New York"I think for me, my sculptures deal withnaturally occurring phenomena, and theyreembedd