Art 252

Starry Night
Vincent Van Gogh's Starry Night, Museum of Modern Art, NYC

Art 252 traces the development of modern art, from 1900 to the present.  The course covers painting, sculpture, architecture, printmaking,  photography and the decorative arts (for example, furniture or jewelry).  We include landmark art works, such as Van Gogh's Starry Night (above), Warhol's Marilyn, Brancusi's Bird in Space, and Frank Lloyd Wright's Guggenheim Museum design.

We also consider important questions in the art world today, such as:

Art 252, History of  Modern Art, is one of the best Art History courses for Art or Computer Graphics majors. It allows you to focus on the works of art being produced today, and exposes you to contemporary work in your field. This course may be counted toward your program requirements, and may be transferable. (Check with your transfer institution to be sure). Art 252 is also a good choice for community members interested in modern art, or for anyone who enjoys visiting museums. And, for anyone who appreciates modern art, this course is also a great deal of fun.  A museum trip with a guided tour by the instructor is included.

Course Syllabus

Text:  H.H. Arnason, History of Modern Art, 4th ed., 1998

Course Objectives and Goals:  This course is a chronological survey intended to provide an introductory knowledge of Modern Art in the Western tradition, from the 19th century to the present, including painting, sculpture, printmaking, photography and architecture. We will examine the development of modernism and how emerging modernism in art was tied to political, social and religious changes in Europe and America.  Special attention will be placed on major artists and artistic movements, allowing each student to become familiar with the modern masters and their works of art. The course is also intended to encourage debate about what art actually is and what its role should be in our society. A museum visit is planned, with a guided tour by the Instructor.    



            You will receive grades for the following:  three quizzes, a presentation/paper (on an issue or artist), final exam (pick a future modern master) and class discussion.

            Each quiz will consist of slide identifications and essay questions.

            The discussion grade reflects the general effort I feel you are putting into the course. It considers class discussion, attendance and any positive contributions made toward the success of the course.  This grade is particularly important to borderline students, but applies to everyone.



            Each student will deliver a short presentation or write a paper on a current art issue or on a major modern artist.  There is a suggested list of topics below.  (Other 19th and 20th century topics will be considered if you have an idea that is relevant to the course.)


            Papers should be five pages, plus a bibliography and illustrations.  Papers are due the 13th week (Dec. 2).  Presentations should be 10 to 15 minutes in length, and may be individual or group presentations. For presentations, arrange visual aids in advance. (See me about slides three weeks before your talk.) I will work with you individually, if you want help with the format or delivery of a presentation.  Inexperienced public speakers should see me.


            For group presentations, talks should be about 15 to 20 minutes long. You may use any format for delivery, including panel discussion, debate, lecture, performance.  You may involve the audience in your presentation, if you wish, using the audience to vote, help create a work of art, criticize a work of art, etc. All members of the group must speak, but you may have a main speaker. All members of the group must participate in the development of the presentation, and the group should give me a list describing what each participant contributed. It should be signed by all members of the group.  A single grade will be assigned to the group.  This is an ideal format for a debate or discussion on a controversial topic. To encourage group presentations, there will be extra credit for approved topics for group presentations.


            Both papers and presentations should be clear, concise, and constructed to make a major point or draw a conclusion.  If you select an artist, for instance, put that artist in context and explain the importance of the artist. Go light on the biography or family history, unless it really tells us something about the artist’s works. Do NOT give a report; instead, your job is to interpret or analyze. If you select an issue, you will be expected to take a stand on that issue. If you use outside references, provide copies of your bibliography for the class.  (See me if you need copies made.)


            Topics and formats for your paper/presentation are due the third week of class. Students who do not report a topic/format selection by that date will be assigned to a topic in a group presentation by the instructor. 



            Tests are based on lectures.  Attendance is considered in grading and is necessary for attaining good grades.  You are responsible for all material, including handouts, presented in class. You are responsible for being able to identify all the works on the “List of Works” and being able to discuss the general ideas presented for all works shown in class. If you miss a class, it is your responsibility to get notes and handouts.  Read the text in conjunction with the lectures. 



            Talk to me before or after class, or by appointment.  See me with questions, concerns or ideas about your paper/presentation or final.  Feel free to call me at home (609-894-8070), but please identify yourself as a student. Or, use my BCC number 609-894-9311, x 6252. If I am not available, leave a message and I will call you back. You may call my home until midnight.  Or, communicate by e-mail day or night. I can usually be accessed at . For the really adventurous, try my temperamental home computer at



            Missing exams is discouraged.

            If it is necessary to miss an exam, notify me before the exam and you may make it up.  Students who miss one exam are not eligible for an “A” grade in this course. Students missing two exams are not eligible for a “B” grade in the course.

            Students missing an exam must make arrangements with me before taking a makeup.  All makeup exams are given in the test center.  They consist of four (out of six) essay choices which are “culture” questions, relating works of art to the culture that produced them.  They are more difficult than in-class test. Avoid them. 



            Turn work in on time.  Late work receives a lowered letter grade: Late presentations will make scheduling the classes difficult for everyone.  Show up! 



Censorship in art (e.g., Mapplethorpe, Serrano, Eisenstaedt, Kokoschka, Klee and degenerates)

Problems/Advantages of new materials in art (e.g., fiber art, burlap, Rothko, Kiefer, Kline, etc.)

Women Artist (e.g., Guerrilla Girls, O’Keeffe, Sherman, Kruger, Frida, etc.)

Minority Artists: problems and successes? (e.g.,Tanner, Catlett, Lawrence, Basquiat, etc.)

American Art: Has it lost its leadership position, why/why not? How did it get it to begin with?

Is It Art? (Or, my three-year old could do that.) What is art, when something is no longer art

            (e.g., Pollock, Koons, or anyone else whose works raise eyebrows)

Public Art (e.g., Serra, what are the rights and responsibilities of modern art on public display)

Public memorials: Who decides what’s good? (e.g., the Wall, Rushmore, Rocky, Rosenthal’s    Iwo Jima, Statue of Liberty, 9/11 memorials, etc.) 

Photography: What rights do subjects have? (Images of victims in war, etc.)

Photograph: Is it art? What makes a good photograph?

Price:  Do prices for art objects make sense today? What drives price and why?

Collecting: How to buy modern art, what criteria to use, where to go

Sexuality in modern art (How is it used today, how was is used before?)

Shock value in contemporary art (Is this producing good art, is it “right”?)

Images of War in paintings and photos (How have these changed? Are the changes good?)

War as it impacts artists (Kollwitz, Futurists, Lembruck, Marc, Capa, Burrows, Kiefer, etc.)

The Hero in art (How have images of the hero changed? Do we even depict heroes any more? Why/why not?)

*Picasso or Matisse                     

*Gauguin, Van Gogh, Munch, Goya, Gorky, Claudel, Rothko (Issue: “tormented artists”)

*William Johnson, Mapplethorpe, Close, Warhol, Kahlo, De Kooning, Arneson, Picasso in old age (physical health and art, impending death and art)

*Kahlo, Rivera (political statements in art, love and art)


*Gehry and post-modern architecture (Can architecture be fun? Will this style last)  


*Rauschenberg or Johns



*Kiefer or Baselitz

*Haring or BasquiatIs graffiti art? How did they influence the art world? Are they good?


*Witkin (Maybe you can get an interview with a working artist. This is the real thing. Ask me.)

*Reiss, Hine, Lange, Evans or any other photographer of social commentary

*Stieglitz or any other “art” photographer

*Neshat (fled Iran and is working here, issues of Islam and women, a well-paid artist today)

*Duchamp (great display in PMA, extremely important though heretical)

                         (*=focus on one period or work, put the artist in context)

Smithson, Christo or any artist who alters the appearance of the earth.  Why are they real artists?

Is Andrew Wyeth any good? (Or, Jaime?) Who gets to decide?

Forgeries of modern art.  How easy is it? What can we do? (Man Ray, O’Keeffe, Pollock, etc.)

Scandals in art—what do they do? Manet, Muybridge, Daumier (jailed), Brady (faked pictures), Sargent (fled Paris after Madame X), Duchamp (Fountain, Nude Descending a Staircase)

Or, your own topic with the Instructor’s approval



Your final exam will consist of a short presentation the night of the final exam.  You will be asked to pick an artist you think will become a future modern master.  Here are the rules:


1.  You have $25,000 to invest in a modern work of art.  So, you check galleries, art magazines, the internet, museum shops. Good choices of magazines are ART NEWS, ART IN AMERICA and ART AND AUCTION, all of which advertise art for sale through major galleries.  There are other sources, for example, Penn offers tours of NY galleries and Philly galleries.  Call 215-898-6479 to sign up. See also First Fridays, Old City Arts Assoc., web site


            Your artist must not already be in our text book.  This artist represents a discovery by you--you are saying this artist is going to make it.  And, you are willing to invest up to $25,000 because you believe that.


2.  Gather information on your artist.  Ask gallery owners, if possible.  Try the internet or try writing the artist. (Galleries are probably the best bet. Galleries will forward your letters to the artist, if you ask them to.  The annual August issue of ART IN AMERICA includes the addresses of most major galleries.)  If your artist already has a work in a museum, contact the museum curator and ask for info.


3.  Prepare your presentation.  In the presentation, explain what your artist is doing, where he/she fits into the developments in modern art, and why you think this artist is going to make it. You will need an illustration of the artist’s work, because we will probably be unfamiliar with your artist.  If you can, give the price of the work you are investing in.  (Your limited to $25,000.)


4.  Deliver your presentation, which should take about 5 stress-free minutes. Class size may limit time, so be considerate. 


5.  The class will vote on the top picks.  The people who get the most votes receive extra credit for the final.


6.  Wait to see if you were right.  If your artist makes it, he or she will probably appear in the next editions of future college textbooks on modern art or in Art History survey texts. Expect that to take 5 to 10 years, unless you get really lucky. You can also call me and ask. 




Extra Credit


Anyone interested in doing an extra credit project can review a movie that focuses on modern art. Describe the story and explain how accurate the movie is.  Has the film maker done anything to enhance the story, the characters or the drama?  Do the stars accurately reflect the appearance and personality of the people they represent?  Is the movie well filmed and is the dialogue good? These are some ideas to consider in your paper.  You will need to research the lives of the artists depicted in the movie to do this project successfully.  Paper length: about five pages.


There are many movies that deal with modern art.  Here are a few that you should be able to rent or borrow from a library. Check the movie’s rating to be certain it is acceptable to you before you take it out. Here are a few suggestions.  Let me know if you find others.


Bride of the Wind (about Kokoschka’s mistress)   Basquiat (NYC graffiti artist makes it, ODs)

Goya in Bordeaux (Goya in exile late in life)         Pollock (alcoholic, turbulent life and death)

Surviving Picasso (Picasso and his mistresses)       Dirty Pictures (censorship, Mapplethorpe)

Frida (Frida Kahlo and Diego Rivera)                     I Shot Andy Warhol (SCUM shoots Andy)


List of Works

O'Keeffe, Red,White &Blue, 1931, The Met



The Prehistory of Modern Painting

4,  Piero, Flagellation, Italy, 15th century

**  Manet, Execution of Maximillian, Fr., 1868

15, Goya, Self-Portrait with Dr., Sp., 1820

14, Goya, Ravages of War, 1810-11 (pub. 1863)

Pl. 2, Delacroix, Lion Hunt, Fr., 1861

21, Bouguereau, Spring, Fr., 1886


Chapter 2, Realism, Impressionism and Early Photography

27,  Daguerre, Parisian Boulevard, Fr., c.1838

31,  Anonymous, Frederick Douglas, Am., 1847

35,  Brady, Dead Soldier, Am., 1863

38,  Daumier, Rue Tansnonain, April 15, 1834, Fr., 1834

41, Courbet, Waves, Fr., c. 1879 (PMA)

Pl. 7, Hiroshige, Oriental Popular Print, Japan, 1857

**  Hiroshige, Mt. Gorge in Snow, 1840-42


43, Manet, Olympia, Fr., 1863

44, Manet, Emile Zola, 1868

49,  Monet, Boulevard, Fr., 1873

Pl. 9,  Monet, Impression: Sunrise, 1872

Pl. 10, Monet, Bridge at Argenteuil, 1874

55, Monet, Clouds, 1916-26

**   Renoir, Luncheon, Fr., 1876 (DC)

51, Degas, Jockey, Fr., 1889 (In PMA)

52, Muybridge, Horse in Motion, Am., 1878

Pl. 13, Cassatt, Little Girl, Am., 1878 (In DC)


Chapter 3, Post-Impressionism

70, Seurat, Le Chahut, Fr., 1889-90

73, Cezanne, Card Players, Fr., 1890-92 (In the Met)

71, Cezanne, Uncle Dominic as a Monk, c. 1866

Pl. 25, Cezanne, Bathers, 1906, PMA


74, Moreau, The Apparition, Fr., c. 1876

Pl. 26, Redon, Roger and Angelica, Fr., 1910

Pl. 27, Rousseau, Carnival Evening, Fr., 1886 (In PMA)

Pl. 30, Gauguin, Where...?, Fr., 1897

Pl. 29, Gauguin, Vision After the Sermon, 1888

Pl. 32, Van Gogh, Starry Night, Dutch, 1889 (In MoMA)


Chapter 4, The Origins of Modern Architecture

87, Eiffel, Bridge, Fr., 1880-84

**  Richardson, Trinity Church, Boston, Am., 1872-77

101, Roebling, Brooklyn Bridge, Am., 1869-83


Chapter 5, Art Nouveau

103, Morris, Wallpaper, Eng., 1876

105, Beardsley, Salome, Eng., 1893

**  Klimt, The Kiss, Austria, 1907-08

Pl. 41, Tiffany, Table Lamp, Am., c. 1900

109, Gaudi, Church of the Nativity, Barcelona, Sp., 1883-1926

121, Munch, The Sick Child, Norway, 1885-86

Pl. 43, Munch, Dance of Life, 1900

123, Ensor, Scandalized Masks, Bel., 1883

Pl. 44, Ensor, Entry of christ into Brussels, 1888-89

fig. 85, Toulouse-Lautrec, Rosa la Rouge, Fr., 1886-87 (The Barnes)

Pl. 37,  Toulouse-Lautrec, La Goulue, 1891


Chapter 6, Origins of Modern Sculpture

131,  Rodin, Man with a Broken Nose, Fr., 1864 (Rodin Museum)

132,  Rodin, Age of Bronze, 1876 (Rodin Museum)

38,  Rodin, Balzac, 1897-98 (MoMA and Rodin Museum studies)

134, Rodin, Thought, (Camille Claudel) marble, 1886 (PMA)

136, Rodin, Iris, Messenger of the Gods, bronze, 1890-91 (Met)

139, Steichen, Balzac by Moonlight, 1908, photogravure

142,  Maillol, The River, Fr., 193801943 (MoMA)


Chapter 7, Fauvism

Pl. 52,  Matisse, Joy of Life, 1905 (The Barnes)

Pl. 54,  Matisse, Blue Nude, 1907 (Baltimore)

Pl. 63, Matisse, The Dance, 1909 (similar work in MoMA)

Pl. 57, Derain, Turning Road, Fr., 1906

151, Rouault, Prostitute, Fr., 1906

Pl. 60, Rouault, The Old King, 1916-36


Chapter 8, Expressionism in Germany

Pl. 67, Kirchener, The Street, Dresden, Ger., 1908

Pl. 66,  Nolde, Last Supper, Ger., 1909

162, Nolde, The Prophet, 1912

Pl. 71, Nolde, Female Dancer, 1913

166, Kandinsky, Blue Mt., No. 84,  Russian, 1908-09.

Pl. 76,  Kandinsky, Composition VII, 1913

Pl. 77. Marc, Blue Horses, Ger., 1911

Pl. 78, Marc, Fighting Forms, 1914

Pl. 80, Kokoschka, The Tempest, Austria, 1914



Chapter 9, The Figure. Early 20th Century Sculpture

** Kollwitz, Rest in the Peace of His Hands, Ger.

183,  Kollwitz, Lamentation, 1938

180, Lembruck, Seated Youth, Ger., 1917

184, Brancusi, Sleep, Rumanian, 1908

187, Brancusi, Beginning of the World, c. 1920

Pl.6, Brancusi, Bird in Space, 1925


Chapter 10, Cubism

197, Picasso, Woman with Crow, Sp., 1904 (Blue period 1901-04)

Pl. 88, Picasso, Saltimbanques, 1905 (Rose Period 1905-06)

203, Picasso, Three Women (Early Cubism 1906-09)

Pl. 91, Braque, Houses, Fr., 1908 (Early cubism)

Pl. 93, Picasso, Portrait, 1910 (Analytic cubism 1909-12)

212, Picasso, Guitar, Sheet Music and Glass of Wine, 1912 (Synthetic cubism 1912-14)

Pl. 101, Delaunay, Simultaneous Contrasts, Fr., 1913 (MoMA)

Pl. 102, Leger, The City, Fr., 1919


Chapter 11, Towards Abstraction

Pl. 107, Balla, Street Light, It., 1909

Pl. 108, Severini,  Dynamic Hieroglyph, It., 1912 (MoMA--with sequins)

Pl. 111, Boccioni, The City Rises, It., 1910 (MoMA)

245, Malevich, Suprematist Composition, Russia, 1918 (MoMA)


Chapter 12, Early 20th Century Architecture

Pl. 124, Rietveld, Schroder House Model, Dutch, 1923-24

Pl. 125, Rietveld, Schroder House Living/Dining Room


Chapter 13, From Fantasy to Dada...

Pl. 129, De Chirico, Melancholy and Mystery, It.-Gr., 1914

294, DeChirico, Soothsayer’s Recompense, 1913, (PMA)

298, Arp, Collage Arranged by Chance, Fr., 1916-17 (MoMA)

Pl. 133, Arp, Fleur Marteau, 1916

302, Duchamp, Bottle Rack and Fountain, Fr.-Am., 1917 (Rack in PMA)

306, Duchamp, Given, 1944-46 (PMA!)

Pl. 136, Duchamp, The Large Glass, 1915-23 (PMA)

309, Schamberg, God, Am., 1918 (PMA)

311, Man Ray, Rayograph, Gelatin silver Print, 922  (MoMA)

Pl. 127, Chagall, Birthday, Russian, 1923

Pl. 128, Chagall, Green Violinist, 1923, Guggenheim (related work in PMA)

Pl. 143, Beckmann, Departure, Ger., 1932-33 (MoMA)


Chapter 14, The School of Paris Between the Wars

329, Modigliani, Soutine, It., 1916

328, Modigliani, Head, 1911-13

Pl. 144, Modigliani, Nude, 1917

Pl. 146, Soutine, Side of Beef, Lithuania, 1925

Pl. 151, Matisse, Reclining Nude, Fr., 1935 (Baltimore)

Pl. 152, Matisse, Ivy, 1953 (cutout used as window design)

337, Matisse, The Cowboy (cutout used as book ill.)

** Matisse, Faceless Christ and Stations of Cross, Vence Chapel, 1950s (see also 338)

Pl. 147, Valadon, Blue Room, Fr., 1923

343, Picasso, Three Women at the Spring, Sp., 1921


Chapter 15, Surrealism

Pl. 163, Ernst, Europe After the Rain, Ger., becomes Fr. cit. 1958, 1940-42

365, Miro, Lunar Bird, Sp., 1966 (also in PMA)

Pl. 165, Miro, Dog Barking at Moon, 1926 (PMA)

371, Dali, Soft Construction, Sp., 1936 (PMA)

Pl. 178, Magritte, The Dominion of Light, Bel., 1952 (sim. in MoMA)

Pl. 176, Magritte, The False Mirror, 1928

378, Oppenheim, Luncheon in Fur, Ger.,1936 (MoMA)

381, Picasso, Guernica, 1937

387, Picasso, Man with Lamb (cast in PMA)

393, Giacometti, Woman with Her Throat cut, It., 1932 (MoMA)

395, Giacometti, Invisible Object, 1934 (MoMA)

397, Atget, Magasin (Shop), Fr., 1925


Chapter 16, Modern Architecture Between the Wars

Pl. 189, Le Corbusier, Villa Savoye, Fr., 1928-30

417, Mies van der Rohe, Model for skyscraper, Ger. 1922


Chapter 17, International Abstraction Between the Wars

Pl. 202, Mondrian, Broadway Boogie Woogie, Dutch, 1942-43 (MoMA)

455, Calder, Lobster Trap and Fish Tail, Am., 1939 (MoMA)


Chapter 18, American Art Before World War II

Pl. 15, Rembrandt Peale, Rubens Peale with Geranium, 1801 (DC)

64, Eakins, Polevaulter, 1884-85, multiple-exposure Gelatin Silver Print

65, Eakins, Max Schmidt, Am., 1871

67, Ryder, Moonlight Marine, 1890s, (Met)

465, Sloan, Wake of the Ferry, 1907

Pl. 204, Sloan, hairdresser’s Window, 1907

467, Riis, “Five Cents for a Spot”, c. 1899

468, Hine, Child in Cotton Mill, 1908

469, Stieglitz, Fifth Avenue, 1896

471, Stieglitz, Equivalent, 1930

**  Dove, Fog Horns, 1929

476, O’Keeffe, Cow’s Skull with Rose, 1931

Pl. 212, O’Keeffe, Music, 1919

478, Cunningham, Two Callas, Gelatin Silver Print, 1929

Pl. 209, Marin, Lower Manhattan, 1922

Pl. 222, Pipin, Domino Players, 1943

Pl. 226, Lawrence, No. 1, Migration Series, 1940, Tempera, Phillips Col., DC

Pl. 223, Shahn, Liberation, 1945

Pl. 227, Rivera, Flower Day, Mexico, 1925

Pl. 228, Kahlo, Self-Portrait with Thorn Neckpiece, Mexico, 1940

484, Wood, American Gothic, 1930

Pl. 220, Wood, Young Corn, 1931

493, Evans, Miner’s Home, W.VA., 1935, Am., Gelatin Silver Print

494, Bourke-White, Dam, 1936

495, Eisenstaedt, The Kiss (Times Sq.), Ger-Am,1945

511, Lachaise, Standing Woman, Fr.-Am, 1912-27


Chapter 19, Abstract Expressionism and...

517, Gorky, Betrothal, Am., 1947

Pl. 238, Pollock, Lavender Mist, Am., 1950 (DC)

Pl. 239, Pollock, Portrait and a Dream, 1953

Pl. 236, Dekooning, Gatham News, Am., 1955

526, Kline, Mahoning, Am., 1956

Pl. 248, Rothko, White and Greens in Blue, Am., 1957

249, Rothko Chapel, 1965-66

Pl. 255, Motherwell, Elegy to Spanish Republic, No. 34, Am., 1953-54

537, Smith, Royal Bird, Am., 1947

540, Smith, Cubi, 1965

551, Capa, Normandy Invasion, Am., 1944


Chapter 20, Postwar European Art

560, Picasso, Charnel House, 1944-45.

563, Picasso, Self-Portrait, 1972

Pl. 266, Giacometti, Man Pointing, 1947

Pl. 287, Freud, Self-Portrait, Eng.

595, Bacon, Head, 1949

460, Moore, Reclining Figure, 1929

599, Moore, Shelterers, Eng. 1941

Pl. 288, Moore, Sheep Piece..., 1971


Chapter 21, Pop and Europe’s New Realism

604, Hamilton, Just What Is..., Eng., 1956

610. Rauschenberg, Bed, Am. 610

614, Johns, Painted Bronze, 1960

619, Oldenburg, Soft Toilet, Am., 1966

630, Lichtenstein, Whamm! 1963

631, Lichtenstein, Big painting, 1965

638, Indiana, Love, Polychromed aluminum, 1972 (see Love Park, Philly)

Pl. 311, Warhol, Camouflaged Self-Portrait, 1986

Pl. 310, Warhol, Marilyn , Am., 1962

Pl. 316, Kienholz, State Hospital, Am., 1966

Pl. 324, Christo and Jeanne-Claude, Wrapped Reichstag, Bulgarian,1971-95

664, Adams, Execution, Am.,1968

Pl. 306, Samaras, Photo Transformation, 1973-74


Chapter 22, Sixties Abstraction

Pl. 329, Frankenthaler, Interior Landscape, Am., 1964

Pl. 337, Twombly, Hero and Leander, Am., 1981-84

Pl. 338, Kelly, Orange and Green, Am., 1966

Pl. 343, Vasarely, Vega Per, Hungarian-Fr., 1969

Pl. 355, Andre, 37 Pieces, Am., 1969

Pl. 360, Marden, Am., 1988-91

694, Judd, Untitled, Am., 1965


Chapter 23, The Second Wave

709, Wright, Guggenheim, Am., 1957-59

Pl. 363, Wright, Talison West, 1937-38

715, Corbusier, Chandigarh, 1959-62

720, Piano and Rogers, Pompidou in Paris, 1971-78

726, Utzon, et. al., Sydney Opera House, 1972

733, Skidmore, Owings & Merrill, Lever House, Am., 1951-52

735, Skidmore...Sears, 1966-69

748, Pei, National Gallery East Wing, Am., 1978

Pl. 369, Pei, Interior, NG East Wing with Calder (Mobile,1976)


Chapter 24, The Seventies

763, Beuys, How to Explain..., Ger., 1965

766, Nam June Pak, TV Bra, 1969

768, Nauman, SP as Fountain, Am., 1966-70

770, Gilbert and George, Singing Sculpture, 1971

Pl. 388, Turrell, Afrum-Proto, 1967

Pl. 391, Picasso, Chicago Picasso, 1966

800, Serra, Tilted Arc, Am., 1981 (removed)

** Witkin, Bathers, Bronze, 1991  (Grounds for Sculpture)

805, Wyeth, Christina’s World, Am., 1948

806, Neel, Warhol, Am., 1970

Pl. 396, Close, SP, 1991

811, Estes, Double SP, Am., 1976

812, Flack, Wheel of Fortune, Am., 1977-78

Pl. 399, Hanson, Tourists, Am., 1970

Pl. 409, Rothenberg, Bucket of Water, Am., 1983-84

Pl. 412, Jenny, Meltdown Morning, Am., 1975 (PMA)

Pl. 419, Wegman, Blue Period, Am., 1981

838, Mapplethorpe, Ajito, Am., 1981

818, Uelsmann, Cloud Room, Toned Gelatin silver Print, 1975


Chapter 25, The ...Eighties

841, Bazelitz, Choir, Ger., 1983

846, Kiefer, Departure, Ger., 1984

852, Arneson, General nuke, Ceramic, bronze and graphite, Hirshhorn

862, Kruger, Your Gaze..., Am., 1981

864, Sherman, Film Still, Am., 1979

Pl. 438, Sherman, after Caravaggio, 1990

867 and 868, Haring, Drawings, Am., 1980s

869, Basquiat, Am., Grillo

Pl. 446, Skoglund, Radioactive Cats, 1980

Pl. 447, Holzer, Truisms, Installation, Am., 1989-90


Chapter 26, Postmodern Architecture

Pl. 463, Stern, Pool House, Am.,1981-82

Pl. 464, Stern, Disney Animation Bldg., 1995

Pl. 473, Gehry, Chiat/Day Bldg & Oldenburg Binoculars, Canadian, 1991

914, Gehry, Aerospace Museum, 1982-86


Chapter 27, Epilogue

Pl. 493, Serrano, Piss Christ, 1987

Pl. 503, Tansey, The Enunciation, Am.,1992

Pl. 485, Yasumura Morimura, Self-Portrait as Marilyn, Japan, 1996

919, Koons, New Hoover, 1981-86

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