POSTMODERNISM
Postmodernism is the term most associated
with the art which has been done since around
1980. The works of this movement are
characterized by their subjectivism, regional
character, interest in social and political issues, and
their eclectic character. It is basically a reaction
against the simplicity and theoretical nature of the
Modernist movement. Postmodernist artists draw
from a variety of historical sources that are
Modernist, Classical, Prehistoric, Asian, Hispanic,
African, etc.
Photorealism
Photorealism is a movement which began in the late
1960's, in which scenes are painted in a style closely
resembling photographs. The subject matter is usually
mundane and without particular interest; the true subject of
a photorealist work is the way we unconsciously interpret
photographs and paintings in order to create a mental
image of the object represented.
The leading members of the Photorealist movement are
Richard Estes and Chuck Close. Estes specializes in street
scenes with elaborate reflections in window-glass; Close
does enormous portraits of neutral faces. Other
photorealists also typically specialize in a particular subject
matter: trucks, horses, diners, etc.
GOINGS, Ralph. American Salad B, 1966. USA Photo Realism
Ralph Goings: Plumbing-Heating Pick-Up, 1969.
Ralph Goings: Dick's Union General, 1971. Oil on linen , 40 x 56 inches Louis K. Meisel Gallery, New York.
Ralph Goings:
Dinner Still
Life, 1977.
Don ESTES, Bus Reflections, 1972.
Don ESTES, Supreme Hardware, 1973. USA Photo Realism
Don ESTES, Central Savings, 1975. USA Photo Realism
Robert Cottingham
Artist's Lifespan:
1935Title: Roxy
Date: 1972
Location of Origin:
United States
Medium: Oil on
canvas
Original Size: 6 ft
6 in x 6 ft 6 in
Style: PhotoRealism
Robert
Cottingham
(American,
1935-),
Zukor's, 1969,
oil on canvas,
198 x 198 cm,
Tehran
Museum of
Contemporary
Art, Iran.
Don Eddy, Bumper Section VI, 1970
John Salt, Fairlane with White Wildflowers, 1972. Oil on linen, 48 x 72”. Louis K. Meisel Gallery, New York.
James Doolin
Title: Shopping Mall
Date: 1973-1977
Location of Origin:
United States
Medium: Oil on
canvas
Original Size: 7 ft 6 in
x 7 ft 6 in
Style: Photo-Realism
Genre: City life
Location: Private
Collection
Artist: Audrey
Flack
Artist's Lifespan:
1931Title: World War
II, April 1945
Date: 1976-1977
Medium: Oil on
canvas
Original Size: 8 ft
x 8 ft
Style: PhotoRealism
Genre: War
Commentary:
Louis K. Meisel
Gallery, New York.
Chuck Close,
Big Self-Portrait, 1967-68.
Acrylic on canvas. 107 1/2 x
83 1/2" (273 x 212 cm).
Walker Art Center,
Minneapolis. Art Center
Acquisition Fund, 1969.
American artist Chuck Close
has been a leading figure in
contemporary art since the
early 1970s. Best known for
the monumental heads he
has painted in thousands of
tiny airbrush bursts,
thumbprints, or looping
multi-color brushstrokes,
Close has developed a
formal analysis and
methodological
reconfiguration of the
human face that have
radically changed the
definition of modern
portraiture. This exhibition
presents the full spectrum
of his career and includes
some ninety paintings,
drawings, and photographs.
Chuck Close, 1940Title: Phil
Date: 1969
Medium: Synthetic polymer
Original Size: 9 ft x 7 ft
Style: Photo-Realism
Genre: Portrait
Location: Whitney Museum
of American Art, New York
Chuck CLOSE
Frank, 1969,
acrylic on canvas
H.108 x W.84 x D 3 in.
The John R. Van Derlip
Fund
The model for this painting
was not Frank himself but
rather an 8 x 10-inch
photograph of him. In the
1960s, Chuck Close
photographed his subjects
and then meticulously
copied the photographic
images, in paint, onto large
canvases. With this
painstaking technique, he
preserved the objectivity of
photography. Close also
simulated the way the
camera, like the human eye,
focuses on one area at a
time, leaving other areas
blurred. By these means, he
directed our attention to
some intriguing aspects of
visual perception.
Chuck CLOSE
United States of
America born 1940
View Biography Bob
1970 synthetic
polymer paint on
canvas275.0 (h) x
213.5 (w) cm
inscribed verso l.r.,
crayon, ' "Bob" 1970
Close'Purchased
1975NGA 1975.151
Chuck Close,
John. Progressive
photos showing
development of
painting,
1972
Chuck Close,
John. 1972
Duane Hanson, Supermarket Shopper, 1970. Polyester resin and fiberglass,
polychromed in oil, with clothing, steel cart, groceries, life size. Nachfolgeinstitut,
Neue Galerie, Sammlung Ludvig, Aachen, Germany.
Duane Hanson,
Seated Old Woman
Shopper,
1974. polyester and
cast fiberglass
enhanced by real
clothing, accessories,
and props.
Duane Hanson,
Born 1925 in Alexandria,
MN, Died 1996 in Boca
Raton, FLSalesman,
1992painted polyvinyl
and clothing
68 x 17 x 14 inches, 98
1/2 lbs. Bebe and Crosby
Kemper Collection
Gift of the William T.
Kemper Charitable Trust
1995.36
Duane Hanson,
Man Leaning
Againt Wall
(detail),
1974.
John De Andrea,
Standing Man, 1970.
Polyester resin, oil paint, and
dynel hair
186.7 x 75.2 x 74.1 cm.
Museum of Contemporary
Art, Chicago.
Gift of Albert and Muriel
Newman in honor of Helyn D.
Goldenberg
Philip Pearlstein(1924-), Female Nude on a Platform Rocker, 1977-1978. Oil on canvas, 6 ft 1/4 in x 8 ft, Realist Revival, The
Brooklyn Museum, New York.
Eric Fischl, (1948-), Bad Boy, 1981, United States, Oil on canvas, 5 ft 6 in x 8 ft, Realist Revival, Saatchi Collection, London.
Richard Estes (American, 1932-), Water Taxi, Mount Desert, 1999, oil on canvas,
35 x 66 1/4 inches, Kemper Museum of Contemporary Art, Kansas City, MO.
Alfred Leslie, JALEEL MOHAMMED.
Oil on Canvas, 7’ X 5’
Alfred Leslie, BETTY MOORE. Oil on Canvas, 7’ X 5’.
Courtesy of The Boil and Squeal Gallery, New York.
Rey Milici, Go West!, 2003. Oil on linen, 28 x
56”. Louis K. Meisel Gallery, New York
Roberto
Bernardi,
Spazi
Infiniti,
2003 . Oil
on canvas,
23 x 27”.
Louis K.
Meisel
Gallery,
New York
罗中立 《父亲》
1982年, 油画
216x 152公分
陈逸飞《浔阳遗韵》1991年
Performance
Performance art is a live performance that combines elements from many
branches of art. A performance artist typically uses literature, the visual arts,
popular culture, music, dance, and theater, as well as video, slides, and computergenerated images. A performance can consist of one person or several and may
take place anywhere and last for any length of time. Performance art often uses
the performer's body as the primary art medium. The performance may be
autobiographical or make a political statement, especially of a radical nature. It
often merges art with daily activities.
Performance art grew out of avant-garde (experimental) art movements of
the early 1900's, particularly Dada and Futurism and the work of French artist
Marcel Duchamp. From the 1940's through the 1960's, these international
movements were linked with such American movements as Abstract Expressionism,
Minimalism, Pop Art, and Conceptual Art. Artists who pioneered the performance
movement in America include composer John Cage, painter and sculptor Allan
Kaprow, and sculptor Claes Oldenburg.
During the 1960's, all three artists created a form of performance art called
happenings. Happenings combined sound and visual material in random ways,
often with the audience participating. During the late 1900's, performance art
became more concerned with social and political issues, such as feminism or AIDS
awareness. Leading performance artists include Laurie Anderson, Spalding Gray,
Holly Hughes, and Carolee Schneemann.
Yves Klein-leap into the
void-1960.
在20世纪艺术史上，艺术家的
身体不但成为艺术作品表现的
主题，也成为艺术作品的客体。
捆扎或击打，裸露或涂划，静
止或激狂，身体呈现出各种可
能的姿态。艺术家异常真实的
通过表演将他/她的艺术公开呈
现，或者通过录像和照片私下
呈现。身体艺术家和行为艺术
家们扩展并刷新了古老的“自
画像”（self-portraiture）传统，
他们/她们构成了将艺术从画廊
移至人们从未想到过的空间和
媒体中去的那些艺术家的重要
部分。
stelarc悬挂1976
Peter weibel-doggishness-1968
Oleg kulik-I
bite America
and America
Bites me1997
Burden-be shot-1971
C. Schneemann, Up to and Incliding, 1973. performance art. American.
Yves Klein,
Installation of
Anthropometrics,
1960.
performance art.
French.
Joseph Beuys,
Explaining Art to A
Dead Hare. 1965.
Germany Postmodern
Joseph Beuys,
Filter Fat Corner,
1962
行为艺术： 《@41》， 2005年4月13日下午四时，位于成都南郊牧马山高尔夫球场侧的大草坪上，以川音成都美
术学院为主体的四十一位在校男女艺术学子，以他(她)们的血肉之躯上演了一出当代版的生命颂歌——《@ 41》。
四十一个“天体”，组合成电子邮件的精典代码“@”，并按“多米诺”方式依次关联倒下。在春日暖阳的斜照下，青春的
律动、青春的气浪、青春的妩媚、青春的力量，以一种不可名状的态势扑面而来，令人血脉贲张，极为震撼！
2006年12月16日，《我们的障碍》当代
艺术展在南京艺事后素现代美术馆开幕。
其中南京艺术家成勇的一件名为《会诊》
的人体行为作品吸引了不少观众的眼球。
作品在一位裸女郎身上画满了盲文，几
位盲人围坐其边为其会诊，诠释人类心
理、人格等“我们的障碍”艺术主题。
用废料创作的行为艺术
品， 2005 年 3月31日，
在比利时首都布鲁塞尔，
几名模特与德国艺术家
哈·舒尔特创作的“垃
圾人”合影。这些垃圾
人是舒尔特全部用废料
制作的，旨在提高人们
对生活垃圾分类处理的
认识，提高环保意识。
这些艺术品曾在埃及的
金字塔前、莫斯科的红
场和巴黎展出
当地时间1月21日，在寒冷的天气中，动物保护者在西班牙全裸抗议，谴责人类用动物毛皮制作衣服。
在西班牙名城巴塞罗那市中心的一个广场上，来自“人道对待动物协会”等组织的成员一丝
不挂地蜷缩着躺在地上，以此谴责人类为制作毛皮服装而虐待、滥杀动物，并呼吁人们停止
穿动物皮毛制成的服装。
Conceptual Art
"Creativity isn't the monopoly of artists."--Joseph Beuys
"Actual works of art are little more than historical curiosities."--Joseph Kosuth
What is it?
Conceptual Art is an international art movement in which the idea of a work matters more than its
physical representation. Conceptual art is based in the intellect rather than the eye--employing words as
much as, or more than, images. Dating from the 1960's, Conceptual Art has its roots in the early 20th century
European arts movement called Dada as well as in the writings on language and meaning by mid-century
philosopher Ludwig Wittgenstein.
What propelled Conceptual Art into existence?
Conceptual Art is considered a backlash to the late 20th century propensity to view art as a commodity.
Proponents of Conceptual Art are concerned with concepts such as the nature of art; conceptual works are
meant to be provocative and to expand the idea of art well beyond that of an attractive object whose price
increases. The idea generating a conceptual work matters more than any by-product or artifact
produced to illustrate that idea.
Who are the key figures in Conceptual Art?
As the father of Dadaism, Marcel Duchamp is considered the grandfather of Conceptual Art. German
artist Joseph Beuys (1921-1986) was a charismatic--if controversial--persona related to the movement. American
artist Joseph Kosuth figured heavily in Conceptual Art during the early 1970's in the US. But this movement is
more important for the dialogue it introduced rather than for any individual practitioner.
What is the legacy of Conceptual Art?
Conceptual Art opened the way for installation, digital and performance art--for art as experience
as well as object. But it also influenced a younger generation of more conventionally-based artists. A work such
as Jeff Koons' floral Puppy which is constructed, flourishes then vanishes owes much to the ideas aired in
Conceptual Art.
为首的抗议者打出了一条标
语——“为一件大衣要残害多少
条生命”，呼吁人们关注和保
护动物权益。为了表现出动物
受虐出血的惨状，一些抗议者
还在身上浇了红色染料，非常
醒目。
Joseph Beuys,
Coyote (I Like
America &
America Likes
Me), 1974.
performance/
sculpture.
German.
Joseph Beuys
I like America and
America likes Me
Joseph Beuys, I like America and America likes Me, 1971.
Joseph Beuys, I like America and America likes Me, 1971.
Joseph Beuys
Table with
Aggregate
Joseph Beuys, Piano, Germany Postmodern
Joseph Beuys: Das Ende des 20. Jahrhunderts (The End of the 20th Century), 1982 - 83, 21 Basaltsteine,
Filz, Tonerde, Steinbock, Brechstange, Maße variieren nach Aufbau? nbsp;VG Bild-Kunst, Bonn 1999
Joseph Beuys: Virgin,
April 4, 1979. Chalk
on blackboard, chalk
and soap bar on
wood table, wood
chair, electrical cable,
socket, and light
bulb, dimensions
vary with installation.
Solomon R.
Guggenheim
Museum. 94.4265.a.e. Joseph Beuys ©
2003 Artists Rights
Society (ARS), New
York/VG Bild-Kunst,
Beuys’s public discussions—lectures on politics, aesthetics, metaphysics, and social relations that often
served as catalysts for other work—exemplify his role as artist, teacher, and activist. One such discussion was
held in Vienna on April 4, 1979, at the Galerie Nächst St. Stephan, where Beuys had been invited to speak in
the context of a debate surrounding the use of Vienna’s Palais Lichtenstein as a museum for modern art.
Earlier that same year, the gallery had given Beuys the opportunity to create an installation entitled Basic
Room–Wet Laundry, a manifestation of his provocative contention that the baroque palace was as useful for
hanging wet laundry as it was for displaying art. The April 4 discussion grew directly from that project. During
the discussion, Beuys referred to a chalk drawing on a blackboard that showed the chemical formula for
making soap. Using the soap-making process as a metaphor for social relations and its colloidal character as
an analogy for the stages of fetal development, he then spoke of the cyclical nature of feminine cleansing,
associating virginity and motherhood with cleanliness and impurity respectively. The lecture also related back
to the notion of washing as “the traditional domain of women” presented in Basic Room–Wet Laundry. These
themes were further brought to bear upon the machinations and politics of the art world, which the artist
viewed with contempt. The installation Virgin, April 4, 1979, is a kind of “representation” of that lecture, and
utilized the essential elements that comprised this cycle of works—soap, blackboard, a table and chair, and the
single light bulb.
In the summer of that same year, Beuys made Virgin Basic–Wet Room Laundry for a major exhibition at
the Vienna Secession. A further iteration of the previous two installations and lectures, this was to have been
the grandest presentation of the subject of the Virgin. However, Beuys decided to isolate some (though not all)
of the elements of the piece as independent objects after a vandal had damaged the work; Virgin, April 4,
1979/June 23, 1979, consists solely of the blackboard from the Vienna installation. Beuys reworked the
imagery to evoke more painterly results, which he achieved by rubbing soap directly onto the surface in broad
circular movements. The dual date refers to both that of the original idea—in this case, back to the April 4
discussion—and the date the piece was constituted as a self-contained object, rather than referring to the
date of its actual creation, a practice occasionally used by Beuys to underscore his belief that “thinking=art.”
Joseph Beuys: Virgin, April 4, 1979/June 23, 1979. Chalk, tempera, wood, and soap on blackboard, 33 1/16 x 49 5/16 inches.
Solomon R. Guggenheim Museum. 94.4264. Joseph Beuys © 2003 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.
Joseph Beuys: F.I.U.: The Defense of Nature, 1983–85. Automobile, shovels, copper pieces, pamphlets, and slate blackboard,
dimensions vary with installation. Solomon R. Guggenheim Museum. 85.3315.a-.e. Joseph Beuys © 2003 Artists Rights Society (ARS),
New York/VG Bild-Kunst, Bonn.
Artist: Joseph Beuys
Artist's Lifespan:
1921-1986
Title: The Pack
Date: 1969
Location of Origin:
Germany
Medium: Esoteric
medium
Style: NeoExpressionism
Genre: Common
artifacts
Commentary:
Volkswagen bus with 20
sledges, each carrying
felt, fat, and a flashlight.
Collection Herbig,
Germany.
These works by Joseph Beuys may be said to reflect three distinct phases in the artist’s career. Animal
Woman, an example of Beuys’s early work, is closely tied to his years in the workshop of his teacher, Ewald
Mataré. Beuys accentuated the fetishistic character of the work by finishing the various casts of the statue (there
are seven casts and one artist’s proof) with different patinas. The grossly enhanced sexual characteristics of
Animal Woman, notably the hips and breasts, are in keeping with the type of nature imagery that Mataré and he
favored during the late 1940s; a primordial female nude was a recurring subject of Beuys’s work at this time.
By 1962 Beuys had ceased creating objects, turning his attention to Performance [more] art and sculptural
experiments with nontraditional materials. F. I. U.: The Defense of Nature exemplifies the way his life came to
merge with his art. The work refers to an ecological campaign that Beuys and his dealer, Lucrezia de Domizio,
waged in the 1980s with the help of his students at the art academy he had founded to encourage creativity—the
Free International University (hence the F. I. U. of the title). The campaign required the use of a car, pamphlets,
copper tubing, and spades that were meant to be plunged vigorously into the Italian countryside. Beuys sold the
car, its contents, and two blackboards as part of his routine transformation of performance materials into artworks
that would in turn fund other projects.
Encounter with Beuys (a title probably given by de Domizio) consists of a vitrine containing felt, fat, copper
pieces, and cord, the materials he used repeatedly to describe significant events in his life. The first two materials
refer to the pivotal incident in his life, a wartime plane crash in which mountain people saved his life by wrapping
him in felt and fat; copper was used by Beuys to represent spiritual conduction, while cord as a readymade has
fascinated artists from Piero Manzoni to Dorothea Rockburne. The placement of autobiographical objects in a
vitrine relates particularly to his major 1985 exhibition in Naples, where he installed a series of golden plates and
vitrines, suggesting the burial hall of a king. Beuys favored the vitrine for its ready association to ethnographic
installations. As part of his fusion of rituals and their fetishes, he believed that art and artifacts could not always
be distinguished from one another.
Encounter with Beuys, 1974–84. Vitrine containing felt, copper, fat, and cord, 75 x 78 5/8 x 23 1/2
inches. Solomon R. Guggenheim Museum, Purchased with funds contributed by The Gerald E.
Scofield Bequest. 87.3522.a-.h. Joseph Beuys © 2003 Artists Rights Society (ARS), New York/VG
Bild-Kunst, Bonn.
Lightning with Stag in its Glare (Blitzschlag Mit Lichtschein auf Hirsch),
1985. Aluminum, bronze, and iron, thirty-nine elements, dimensions
variable. Solomon R. Guggenheim Museum, acquired by Guggenheim
Museum Bilbao in 2001. Joseph Beuys © 2003 Artists Rights Society (ARS),
New York/VG Bild-Kunst, Bonn.
One of Joseph Beuys's most theatrical installations, Blitzschlag mit
Lichtschein auf Hirsch (Lightning with Stag in Its Glare) articulates the
German artist's obsession with primal and elemental forces: the earth,
animals, excrement, and death. The arrangement of elements in this
mysterious grouping suggests a natural site, like a forest clearing in which
the stag (represented by an ironing board resting on wooden 搇egs?, the
excremental forms of the 損rimordial animals?(actually made by plunging
tools into piles of clay), and a goat (the hapless three-wheeled cart) are
illuminated by a powerful lightning bolt (the weighty triangular form that
hangs precariously from a beam). The artist is the human witness to this
mythic, symbolic narrative (dominated, as always in Beuys's work, by
animals), appearing obliquely in the form of the cast block of earth atop an
old sculptor抯 modeling base. Completed in 1985 (the year of the artist抯
death), this important work was acquired by the Guggenheim Museum
Bilbao in 2001 and re-presented in a new installation in January.
Joseph Kosuth,
One & Three
Chairs, 1965.
Sculptural
Installation.
American.
Dennis
Oppenheim
DEVICE TO
ROOT OUT EVIL,
1997
Venice, Italy
Collection of
Denver Art
Museum
photo: Edward
Smith, Venice
Dennis Oppenheim
CHAIR POOL, 1996
Vilniaus, Lithuania
Collection of Europos Parkas
Photo: Europos Parkas
Sylvia
Plimack
Mangold,
Two Exact
Rules on
Dark and
Light Floor,
1975.
Acrylic on
canvas.
24” x 30”.
Brooke
Alexander,
Inc.
Gilbert and George, We Are, 1985. Panel photo-piece, 7’10 7/8” x 6’7 1/8”. Robert Miller Gallery.
Artist: Judy Chicago
Lifespan: 1939Title: The Dinner
Party, 1979
Mixed media
Original Size: 3 ft 11
in x 3 ft 11 in x 3 ft
11 in
Style: Postmodernism
Genre: History
Artist: Judy Chicago
Nine Fragments from
the Delta of Venus,
Printmaking.
Artist: Judy Chicago, Nine Fragments from the Delta of Venus
Artist: Judy Chicago, Nine Fragments from the Delta of Venus
Judy Chicago, Voices from the Song of Songs, Come Let Us Go Out Into the Open Fields, 1999, h: 24 x w: 20 in /
h: 61 x w: 50.8 cm
Judy Chicago, Yes, I
am Black and RadiantFrom Voices from the
Song of Songs, 1999,
Heriorelief, lithography,
and hand coloring h:
20 x w: 24 in / h: 50.8
x w: 61 cm
Miriam Schapiro, Anatomy of a Kimono (section) 1976. Fabric and
acrylic on canvas, 6’8” x 11’11”. Collection of Bruno Bishofberger.
Barbara Kruger
Title: Untitled (Your
Gaze Hits the Side of
My Face)
Date: 1981-83
Medium: Photography
Genre: Portrait
Artist: Barbara Kruger
Title: You Substantiate
Our Horror
Date: 1983
Medium: Photography
Original Size: 10 x 8 ft
Genre: Portrait
Artist: Cindy Sherman
Lifespan: c. 1954Title: Untitled #79
Date: 1979
Location of Origin:
United States
Medium: Photography
Genre: Self-portrait
Cindy Sherman (b. 1954)
Untitled, 1992. Silver dye bleach
print (Ilfochrome), 68 1/16 x 45 1/8
in. (172.9 x 114.6 cm)
Linda Nochlin: Cindy Sherman's
Untitled #261, a work created in 1992, is
a scary image. It's an in-your-face image.
It confronts the viewer with a series of
highly sexual, erotic elements, but not in
the way that you think of confrontation
usually. It is an effect of fragmentation,
of artifice, of, Hey, look, I was playing
with my dolls and I kind of got them all
mixed up and isn't it disgusting.
What's unusual about it is the head,
which you think usually comes on top of
the body, comes where you would expect
the sexy part of the body to be. So the
head sets up twisted expectations. The
next confrontational portion of anatomy
are the breasts, which adds to the
generally twisted and perverse sensation
that the viewer gets when looking at it.
It's to make us realize the artifice of
pornography and indeed the artifice of the
erotic itself. The erotic is not just some
thing out there in nature that, you know,
we drool over when we come in contact
with it. It is a construction. It is an
ideological construction, if you will, into
which many, many sources play.
Advertising, striptease shows, memories
of other works of art.
Magdalena
Abakanowicz, artist
with Backs, at the
Musée d’Art
Moderne de la Ville
de Paris, 1982.
Leon Golub, Mercenaries (IV), 1980. Acrylic on linen, 10’ x 19’2”. The Saatchi Collection, London.
Anselm Kiefer, Vater, Sohn,
Heiliger Geist (Father, Son,
Holy Ghost), 1973. Oil
charcoal, synthetic resin
on burlap, 9’6” x 6’2 ¼”.
Courtesy Marian Gooman
Gallery, New York.
Anselm Kiefer (1945-), Sulamith, 1983, Germany, 9 ft 6 1/4 in x 12 ft 1 3/4 in, Neo-Expressionism, Genre: Death, Esoteric medium:
Julian Schnabel, The Walk Home, 1984-1985. Oil, plates, copper, bronze, fiberglass, and
bondo on wood, 9’3” x 19’4”. Eli Broad Family Foundation and the Pace Gallery, New York.
Judy Pfaff, Rock/Paper/Scissors, 1982, Mixed media, temporary installation, Albright-Knox Art Gallery, Buffalo, NY
Martin Puryear, Thicket,
1990. Basswood and
Cypress, 67” x 62” x 17”.
The Seattle Art Museum,
gift of Agnes Gund.
Mark Tansey, Innocent Eye Test, 1981. Oil on canvas, 6’6” x 10’. The
Metropolitan Museum of Art, New York, promised gift of Charles Cowles.
Jeff Wall, Vampire’s Picnic, 1991. Cibachrome transparency, fluorescent light, and
display case, 7’6” x 11’. Collection of the National Gallery of Canada, Ottawa.
David Em, Nora, 1979. Computer-generated color
Maya Ying Lin, "The Wall“, The National Vietnam Veterans Memorial in Washington, D.C. 1981-83
It is a sloping, V-shaped,
493-ft (150-m) wall of highly
polished black granite that
descends 10 feet (3.05 meters)
below grade level at its vertex.
Often called simply “The Wall,” it
is inscribed with the names of
the more than 58,000 Americans
killed or missing during the
Vietnam War.
In the years since its
construction, however, the
simple, evocative, and starkly
dramatic wall has become a
national shrine, drawing more
annual visitors than the
Washington Monument or the
Lincoln Memorial . Two nearby
sculptures also honor those who
served in the war; one is of
three soldiers by Frederick E.
Hart (erected 1984), the other
of three nurses and a wounded
soldier by Glenna Goodacre
(erected 1993).
"The Wall", The National Vietnam Veterans Memorial in Washington, D.C.
KOREAN WAR MEMORIAL
WASHINGTON D.C. 1995