• Assemblage – from 1962 – Annadale Imitation Realists Exhibition – Colin Lancely, Michael Brown, Ross Crothall.  – include parody – text included in some, - parody 'to make ridiculous by imitation'.  E.g. Michael Brown Quiet People  1962 -

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

•  http://cs.nga.gov.au/Detail-LRG.cfm?IRN=101726

• Text within images – e.g. Emants Tillers, Jenny Watson, (rosalie Gascoigne)

• Appropriation – Copyright and the Idea – cites  McGuire – enlarges parts of 17th C dutch still life paintings -

• Comments that she was painting the Fyansford Mill in 1979 near another artist who turned out to be Fred Williams.  – uses this as an example – says if she had copied his style, she would have been infringing copyright (I find this very questionable!). 

 

Focus Questions

How has the role of the artist changed?

• Now more of a facilitator – blurring of trad. Medium boundaries, use of appropriation – the idea may be more important than the execution.  Blurring of artist/curatorial boundaries. 

How has public perception of the artist changed?

• Acceptance that artists will challenge the accepted boundaries of art.

• Scepticism over 'is that really art'.

• Need to spend time and mental energy if one is to begin to engage with an art work. 

• Cult artists – super stars – the commodification of name – e.g. Damian Hirst, Jeff Koons. 

How do artists go about making art works?

• There is no one way – but works often work from an initial concept

• Multi media – artists no longer specialising in e.g. painting

• Collaboration – with other artists and experts e.g. technical expertise from outside – e.g. to realise Patricia Piccinini's sculptures from computer drawings to reality. 

• May be about place – an ephemeral (or longer term) work that is specific to a particular place.  (e.g. M~M art stations)

What is the role of the art historian and art critic?

• Education – of the audience – and potential viewers

• Comment on the work – how and why – what it means (may not be that originally intended by the artist)

• Historian and critic – roles may be blurred. 

• Historians may be more academic – and also have a curatorial role – advising clients, galleries, museums, auction houses – about decisions for collections etc. 

• Critics – analyse, evaluate and interpret art.  View exhibitions etc. –

• both may have great influence on the popularity and success of artists – power – e.g. Robert Hughes in USA could damn an artist's work. 

What is the role of the audience in determining the form and presentation of the artwork?

• Initially, very little

• When a style of work becomes popular, artists tend to work within this framework (though not exclusively) – e.g. Cindy Sherman has stuck with the use of herself as the model for her photography. 

• In many later pieces, there is audience participation and interaction (e.g. current exhibition at NGV – Rachel Lozano-Hemmer, Please empty your pockets, 2010 – interactive installation mimicking the scanners at airports which photographs items people put onto the conveyer and reproduces an image of them.  (Reflects on a culture of increasing surveillance). 

These questions deserve discussion in a class seminar! 

Characteristics of Contemporary art practice: (from Cloud https://d2l.deakin.edu.au/d2l/le/content/342493/viewContent/2407145/View)

• changes to accepted tradition and accepted taste

• understanding of a multiplicity of viewpoints

• issues and ideas about the role of object in space and relationships between objects

• use of everyday materials

• imagery of iconographs from popular consumer culture

• employment of contemporary technology.

• In 2000, the main art forms are sculpture, installation, environmental art forms, computer generated forms, painting, performance.

• Avant-garde influences included Minimalism, Pop Art, Art Povera, Post Minimalism, Conceptual Art and Dada. Key artists include Duchamp, Beuys & Fluxus artists.

Focus on themes in art: Postmodernist frames

• Art to push social and political boundaries – using old and new media, bricolage, - anything goes. 

• Jenny Holzer, Barbara Kruger (who use text in their work)

Drozdek, Jenni (2006), 'Looking to the Left: Politics in the Art of Barbara Kruger and Jenny Holzer', Kritikos, 3.

(Drozdek 2006)

 

• Critic Lucy Lippard believes that all art is ideological.

• Kruger surveys advertising systems to rebadge with an agenda that criticises trad views on women and power structures.

• Holzer – ' utilizes an anonymous voice to send messages of authority to the public' 2 – large text 'graffiti' in walls, buildings etc. – truisms e.g. 'if you have many desires your life will be interesting' – also posters, led signs, projections.  Now uses text from others – e.g. the lobby as Southern World Trade Centre. 

• Drozdzek’ article focuses on work of Holzer and Kruger

• Both have overt and covert messages

• Both artists question and confront power structures – are very effective in getting the message across. 

• Both leftist

• Kruger

• Cites Kruger’s choice of leftist literature to for designing book covers as evidence of her leftist slant before going into fine art work

• Much of Kruger’s work feminist – e.g. Kruger’s work for a pro-choice (abortion) march – billboard – YOUR BODY IS A BATTLEGROUND – cites other work on the same theme

• Kruger also produced anti- bomb work – mushroom cloud with

• Your manias become science

• Led to works on money and buying from 1984 – e.g. I shop therefore I am

• K railed against the turning of health care into a charity enterprise – with money being ripped out by the rich. 

• Use of images from magazines, books, advertising as backing –

• Jenny Holzer

• Text alone without image

• ‘Truisms’ – (1977-1979)

• More left than right wing – many ambivalent – e.g. “everyone’s work is equally important”, Any surplus is immoral, ‘It’s not good to operate on credit’, ‘redistributing wealth is imperative’, “Remember you always have freedom of choice” “Using force to stop force is absurd”

• C.f. the few right wing truisms ; Absolute submission is a form of freedom, freedom is a luxury not a necessity, killing is unavoidable but nothing to be proud of, most people are not fit to rule themselves’, ‘occasionally principles are more valuable than people’, ‘separatism is the way to a new beginning’, ‘sex differences are here to stay,’ ‘The idea of revolution is an adolescent fantasy’.  ‘Trading a life for a life is fair enough’ ‘violence is permissible and even desirable  occasionally’. – these feel ironic – need challenging – point up the absurdity of the right wing beliefs they espouse. 

• Holzer says was attempting to be neutral with the truisms – but most are not read that way – they are not really a ‘sampling of opinion’ –

• Cites use of Holzer’s truisms on t-shirts e.g. the ones chosen for this are the left-wing ones almost predominantly.

• Became almost offensive with ‘it is fun to walk carelessly in a death zone’, ‘people are nuts if they think they are important’ ‘what country should you adopt if you hate poor people?’  - had to have disclaimers – but Holzer says that she has the hope that ‘readers will, in reaction, land in the right place’.  Drozdek conjectures about what the right place might be. 

• Holzer  leaflet “Jesus will come to New York November 4” (election day).  – background (stated in the leaflet that 3 million fundamentalists are newly registered to vote.  – Holtzer’s aim is to ‘scare most liberals into voting’. 

• Holzer’s work not just in galleries – billboards, projections, electronic signboards. 

• Anonymous – no artist name attached to these public billboards etc.  – aim to produce common maxims. 

Cloud – Topic 4 part 2

Focus on the Artist: Barbara Kruger

• Use of humour,

• ‘you’ ‘we’ – i.e. separation of ‘us’ and ‘them’ – may be male female, haves/have nots, pacificsm/warloving, etc.  You – often appear s to be pointing to the male (says Grenfell?)

• Moved from posters to installations – e.g. a chess set, use of whole gallery flooded on all 6 sides with text. 

• 4.1 Activity:  Mediating Media: Exploring the work of Barbara Kruger

  What are the intersections between art and advertising?

  • Both need to grab the eye, keep the viewer’s attention long enough to convey a message

  • The message may be clear (advertising and art) or clouded and with many readings (art – usually not advertising but may be used for humour, ironic)

  • Both use the same media – though less use of the trad painting/sculpture etc in advertising – more photography

  • Both use appropriation – e.g. backing music in ads, imagery in both ads and art

  • Purpose is really the same – selling a product (even if that product is an art work, or the message it contains)

• Where do are and advertising diverge?

  • Budget – in the main advertising means big budget (though not for small, local enterprises) – artists rarely have the luxury of a limitless financial palette. 

  • Advertising has a very narrow and focused intent – a clear brief

  • Art may have multiple agenda – a message, an aestheticism, may be more a therapeutic outlet for the artist

  • The producer of advertising is dancing someone else’s agenda and has to please a client (less and less art is commissioned these days, and where it is, the artist is selected by the client and may/or may not accept the commission based on whether it fits the artist’s beliefs and skills)

  • May be multiple collaborators in each but in advertising there is a clear hierarchy with the client on top – absolute choice to accept or reject the work

• How do artists participate in and critique mass media systems?

  • By joining in – using them and commenting on them in their art

  • By pushing the boundaries – finding new uses for the mass media they are critiquing

  • In cartoons and commentary within e.g. newspapers

  • By constant questioning and analysis – be cynical/sceptical of all attempts to indoctrinate – whether overt or covert – there is no one best system of culture

•  

• Activities – this is a possible for the second art activity – as I have a serious interest in the environment and in particular in native and introduced plants.  Have done previous work on this. 

  Postmodernist frames:  Social and Cultural

• Artists investigate their world – from their own unique cultural perspective – political, environmental, gender etc. 

• Artists are agents for reflection and change on the world. 

• Aesthetics plays a part – a way in to the meaning – may even be an end in itself!

• Hung Liu: - works with photos of 19th and 20th century (female)

   

• Tourist photos & Chinese photos (by prostitutes to advertise themselves)

• Point up exoticism (the western view) and patriarchal domination. 

• Tourist photos;

• The exotic, e.g. bound feet on women, dead Chinese soldiers, Allied armies entering the Forbidden City.  – evidence of cultural invasion

• Chinese prostitute photos

• Advertising – a commodity – (western cameras, western-style studios – linking the settings to European works of art).  – a ‘Euro-centric aesthetic influence in Chinese modern culture.’ 

• Liu’s work – large scale painting – ‘combine western aesthetics with Chinese subject matter’ (cultural revolution background of the artist) – photorealism

  Discussion Questions (about Hung Liu Chinese Profile II)

  From a photo by US John Thompson taken between 1962 and 1872 – “Through China with a Camera”

  Who is the person?  Possibly high status (but could be a concubine etc.) – in China, like most of the world, women were possessions. 

  Why not contemporary photos?  Hung Liu is harking back to the time when China was seen as an oddity and exotic by the Western world.  The Chinese culture was for many centuries commodified – with China exporting large amounts of Westernised Chinese art.  The dress in this image is stylised – possibly the subject dressed especially for the photo.  The West attempted to place all other cultures in a subservient position.  This was only successful partially, especially in China, where the Chinese took on the Western presumptions and used them for their own economic gain.  Perhaps the cultural revolution, as well as a cleansing of the country from outside (Western) influences was also a major reaction to this capitalistic image.  Hung Lui is returning to a time when tradition was valued (much was swept away in the Revolution) – The photos used are idealistic images – or those chosen by tourists to show the differences in the chinese culture from the west. 

  How might Hung Liu view her mixing of the Chinese and American cultures?

  Hung Liu is now resident in the USA – and may be, to some extent, romanticising the 19th century, while pointing up its inadequacies – in particular the exploitation of women and the exploitation of culture by the west (aided and abetted by the Chinese themselves).  Has chosen the Western route for herself – perhaps because there may still be censorship in China.  Possibly women’s art in China suffers (as it does in the west) as being second rate. 

  Stereotyping – post-modernist frames

 

• Australia is a melting pot for cultures – and thus the art produced incorporates images from many groups- however, the predominant mantra is white, western-European male art.  We now accept and value Aboriginal art – both traditional and urban

• Cultural stereotypes – the high cast woman in Hung Liu’s time had bound feet – a symbol both of submissiveness and subjection, slavery, and of their need to do no meaningful work.  In the West, the engagement ring has a similar function.  The placing of diamonds on ones hands, means that the woman so owned can do no serious manual work – it also harks back to the woman, by this token, becoming the possession of the man she is to marry.  The prostitutes did not have bound feet, but dressed as high status women – so it was really a pretence that the western men who used this service were having sex with the wives of the rich and influential – another example of the west using the east and vice versa – the women had little say in the matter, whether high or low status. 

• Stereotypes work to simplify and, usually denigrate, cultural groups – ‘Damned Whores and God’s Police’ – Anne Summers – another example of the stereotyping of women into two groups.  It’s a weapon used by the media and government to divide and rule society – e.g.

  • ‘Lifestyle choices’ – denigrating aboriginals who wish to live a traditional lifestyle in less populaced areas

  • The synomynaity of Muslims with radical extremist terrorism when, like most religious group, there are many groups of people, including fundamentalist warmongers. 

  • Lifters and leaners – vilifying all people on social services benefits as unworthy – the young, the old, those who have lost their jobs through the economic downturn. 

Focus on themes in art: Postmodernist Frames

• Bricolage – using what is to hand

• Eclecticism – elements plucked from context and juxtaposed. 

• Multiple points of view

• Pop culture seeps into high culture and vice versa

Barbara Kruger – Jenny Holzer

The Guerrilla Girls

• Art explores the gender bias towards male artists (women are the model – not the artist)

• Also racism in the art world –

• Anonymous – wear gorilla masks –

• Use statistics –

• Life in the New York tenements . 

• Works look like quilts – and are called quilts – e.g. Tar Beach – the rooftop of an apartment in Harlem. 

• Postmodernist Frames: Art and Gender

  Georgia O’Keefe

• Despite the writings of history, women did figure prominently in the art movements from the late 19th century – e.g. Impressionism, Dadaism, Cubism , Surrealism.  E.g. Sophie Taeuber-Arp, Maria Elena Vieira da Silva –promoted abstraction.  Sonia Delaunay (with Robert founded Orphism – a cubist blending of rainbow hues and repeated geometric patterns.) 

• Women demanded the right to depict the nude female.  – cites Lotte Laserstein, Suzanne Valadon. 

• Integration of fine art with fashion, theatre, - e.g. through costumes and set design.  (Men also did this!)

• Women came to the fore in sculpture (Barbara Hepworth, Inge King) and photography (e.g. Berenice Abbott and Louise Dahl-Wolfe). 

Feminist art

• Challenges the patriarchal world and the female’s place in it. 

• Challenges negativity towards women. 

• Article – Why are there no great women artists? Linda Nochlin discussed.  –

• Parker and Pollock (1981) postulated ‘a consistent pattern in the language used of women by art historians and critics since the 18th century, which they named ‘the feminine stereotype’, they argued that art history was not indifferent to women but had actively produced the terms of women’s exclusion by creating a negative category against which a selective creativity, unacknowledged as masculine, was erected as the sole representative of Western culture.’ Also a segregation of art (male) and craft (female)

•  

  Judy Chicago

  Discussion of Chicago's work The Dinner Party (triangular, 48ft each side) – ceramics, china painting, needlework and other, - honours women throughout history with 39 women – godesses and those who have made great achievements (whether famous or not).  – Chicago "An interpretation of The Last Supper from the point of view of those who've done the cooking throughout history." 

  Issues of body and gender:

• Images (in history and current advertising, mass media etc.) largely produced from a male perspective with a male eye and a view to a male audience. 

• Feminist artists challenge this – often using the human body – e.g. Tasmanian artist Sonia Singh transforms Bratz dolls from over sexualised, highly made-up, adult-children to little girls with appropriate eyes, no make-up, simple hair dos and age- appropriate clothing.

  Social and Cultural Frames:  The art of Faith Ringgold

• Topic 4 – section 9 – Post Modernist Frames – Appropriation

  Nothing is new – so we use the art of other people and rework them in our own context. 

  Artists who use appropriation – Maria Kozic, Imants Tillers, Yasumasa Morimura, Mambo

  Yasumasa Morimura

• Uses his own body (like Cindy Sherman) to appropriate female images over time – has a Japanese (non-western) body and is probably homosexual

• ‘High tech, Japanese Kitsch’

• E.g. Picture of a blond rich western girl in a crinoline – only his has divided rather than normal skirt – includes red flowers rather than pink. 

• Maria Kozic

• Portrays females in an aggressive context – e.g. Bitch (1989) -

Focus Questions

• “ you need only to look at recent magazine publications or billboards to realise that the majority of images are directed to a male audience”.  Do you feel that female artists have any influence on societal attitudes? 

  • Yes.  We now question this image of the female – e.g. Little Miss Sunshine (movie) about the sexualisation of little girls into the beauty pageant image. 

  • Maria Abromavic – has made the artist asexual in her performative works – one is not a woman (or man) in the gallery – the artist is a vehicle for people to explore self as they sit in the chair and confront the silence of the artist. 

• Why has the body been such a focus for women and feminist art? (structural context)

  • We all have one – so can use it –

  • The first impression when we meet someone is their look – male/female, culture, race, young/old, rich/poor, fashionable/no veneer, so it behoves us to deconstruct the body for an exploration of the male-female battle for power. 

  • The body becomes a metaphor for gender.  E.g. Cindy Sherman’s film stills. 

• Do you feel that attitudes to the body have changed since early feminist artists such as Judy Chicago The Dinner Party (1974) and Vanessa Beecroft VB$ (1999)?

  • Not really – for some people, yes.  But we still see the young female body as a major theme in advertising.  We still denigrate powerful women and chop them down for being strong (e.g. the political killing of Julia Gillard).  Powerful males still dress in suits with conservative (blue) ties.  Men are allowed to be old – become distinguished.  Women are just old – in the aged-care box – waiting to die, when the reality is that, despite the sags and bags, they have so many roles – trad female ones like ‘home making, child carer’ – and other ones such as political activism, sporting/active person, artist, creator.   We are not in the box, but we are still put in one. 

Reference:  Nochlin, Linda, (1973) Why have there been no great women artists? In Art and sexual Politics, Baker and Hess, New York

Parker and Pollock (1989) Old Mistresses Pandora London. 

Imants Tillers

• Concept is that in Australia, we look at art from around the world via reproductions

• Uses this process in own art – gridding the work – then transposing – noting that colour is often skewed by the reproduction process, and combining pictures from various artists and sources. 

• References Benjamin’s ‘Art in the Mechanical age...’ theory – when everything is reproducible, originally is redundant – (we mediate now through images on a screen)

Reference:  Tillers, I, ‘Words of Widson: a special project by Imants Tillers’, Art and Australia 26 (1) 1998, pp84-85. 

Tillers, I, ‘Imants Tillers as a site of Conflict’, Art and Australia 27 (2), 1990. 

O’Connell, D.  “Imants Tillers”, Art & Text, 37, 1990, pp. 146-147

http://www.shermangalleries.com.au/artists/inartists/artist_profile.asp%3Fartist=tillersi.html

Painting from Tradition (Topic 4 – last – section 10)

• A topic for education students to use with art students – focusing on an analysis of the work of old masters – analysis by colour, spatial techniques, positive/negative shape and contour, compositional characteristics, brushwork, content, and signature motifs, to create original art works that expand on the visual dialogue found in the works of the featured artists. 

• Elements – explanation of these – Line, direction, shape, texture, colour, value (lightness or darkness),

• Principles: balance, graduation, repetition, contrast, harmony, dominance, unity,

Activities for Cezanne, Rembrandt and Rousseau

Cezanne – Images featured are Still lifes The Basket of Apples – focus on making the works dynamic even though the objects were inanimate.  Disjointed perspective – (inspiration for Cubism?)

Rembrandt – self portraits -

[Aside – books to read - Anna Morrow Lindberg, Gifts from the Sea (recommended by Merinda) – reflecting on being your own person and having time out. 

NB Google Rachel Haines art work – for relational aesthetics.]

 

Topic 5 – The Artist's Studio

Quote from Yvette Audette: "An idea is our visual reaction to something seen - in real life, in our memory, in our imagination, in our dreams."

Anna Held Audette from the book, The Blank Canvas

Big Ideas and Art Making

• Broad human ideas, characterised by complexity,  ambiguity, contradiction and multipilicity. 

• Each has many aspects – e.g.  conflict can represent power, personal and social values, justice and injustice and winners and losers.

• Are often explored by artists in all fields

Two readings from (first two chapters of a book) by Sydney Walker (see Readings) This book focuses on using big ideas and the practice of others (American artists used) to inform classroom art teaching.  For the Australian context, it would be better to choose the practice of contemporary Australian artists.  

The Big Idea – a personal view –

Cites Jennifer Bartlett's mural based on drawings made of her garden in Nice. 

Gives a list of statements that may inform artist's decision making – assumptions (or opinions) under the heading:

Why do artists do that?

• Art is a mirror to life, reflecting artists' construction of meaning about their lives, their world, and their times.

• Through the visual arts, we can express our personal vision of the world and understand the vision of others.

• Great artists throughout the ages have both foreshadowed and articulated the effects of social, political, cultural, and technological changes in our world.

• Every art form has a unique language used by the artist to communicate with the world.

• The medium through which an artist works shapes and refines his or her ways of expressing a personal vision as well as reactions to universal human experiences.

• Celebrate the aesthetic qualities of common objects; transform the mundane into an object of art; make the familiar strange, the ordinary extraordinary.

• Celebrate beauty as found in the aesthetic qualities of nature; record a time or place.

• Explore art that speaks about the basic elements of art; celebrate the aesthetic qualities of line, shape, color, and so onand convey dynamics of movement; explore relationships between time and space.

• Stimulate public discourse; provide social commentary; make people think.

• Innovate; give up the old, break the rules; explore new approaches; provide us with new visual experiences.

• Explore new materials and technologies to create new forms of art.

• Raise questions about art traditions such as, "What is art?" "What is a painting?"

Betye Saar – Artist study

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Betye Saar, House of Ancient Memory, 1989.

• Heritage Afro-American, Irish, Native American, Creole, German, Scottish. 

• Works are about spirituality – showing cross-culture similarities. 

• Will not be identified by colour, ethnicity or gender

• Uses Mexican Christian, Far Eastern and African religions in her art. 

• The above work uses Asian symbology – with that of different cultures – gives a decoded image. 

Next section discusses the second project – our group worked on Geelong After Dark – my work is under Major Project. 

The Big Idea – a personal view –

Cites Jennifer Bartlett's mural based on drawings made of her garden in Nice. 

Gives a list of statements that may inform artist's decision making – assumptions (or opinions) under the heading:

Why do artists do that?

• Art is a mirror to life, reflecting artists' construction of meaning about their lives, their world, and their times.

• Through the visual arts, we can express our personal vision of the world and understand the vision of others.

• Great artists throughout the ages have both foreshadowed and articulated the effects of social, political, cultural, and technological changes in our world.

• Every art form has a unique language used by the artist to communicate with the world.

• The medium through which an artist works shapes and refines his or her ways of expressing a personal vision as well as reactions to universal human experiences.

• Celebrate the aesthetic qualities of common objects; transform the mundane into an object of art; make the familiar strange, the ordinary extraordinary.

• Celebrate beauty as found in the aesthetic qualities of nature; record a time or place.

• Explore art that speaks about the basic elements of art; celebrate the aesthetic qualities of line, shape, color, and so onand convey dynamics of movement; explore relationships between time and space.

• Stimulate public discourse; provide social commentary; make people think.

• Innovate; give up the old, break the rules; explore new approaches; provide us with new visual experiences.

• Explore new materials and technologies to create new forms of art.

• Raise questions about art traditions such as, "What is art?" "What is a painting?"

 

Reference list for artists

Laurie Anderson: http://www.pbs.org/art21/artists/anderson/

www.laurieanderson.com

Dianne Arbus: http://www.temple.edu/photo/photographers/arbus/arbus.htm

Matthew Barney: http://www.guggenheim.org/exhibitions/barney/

http://www.pbs.org/art21/artists/barney/

Joseph Beuys: http://www.walkerart.org/beuys/info_introframe.html

Rosa Bonheur: http://www.albrightknox.org go to search collection for Bonheur

Chris Burden: http://www.the-artists.org http://www.artcyclopedia.com search by name

Henri Cartier-Bresson: http://www.photology.com/bresson/

John Cage: http://www.newalbion.com/artists/cagej/autobiog.html

Judy Chicago: www.judychicago.com/ note link to Participatory Art Pedagogy website.

Mel Chin: http://www.pbs.org/art21/artists/chin/

Maya Deren: http://www.zeitgeistfilms.com/current/mayaderen/mayaderen.html

Marcel Duchamp: http://www.freshwidow.com/duchamp-aug96.html

Coco Fusco: do google search, several sites won't link through this server

Frank Gehry: http://www.frank-gehry.com/

Andy Goldsworthy: http://www.sculpture.org.uk/artists/AndyGoldsworthy

Guerilla Girls: http://www.guerrillagirls.com/

Guillermo Gomez-Peña: http://www.telefonica.es/fat/egomez.html

Hans Haake: http://www.absolutearts.com/artsnews/2001/01/31/28019.html

Ann Hamilton: http://pbs.org/art21/artists/hamilton

Keith Harring: http://www.haring.com http://haringkids.com

Helen and Newton Harrison: http://www.feldmangallery.com/

MichaelHayden-Thinking Lightly: http://www.thinkinglightly.com/hayden/

Eva Hesse: http://www.guggenheimcollection.org/ search for Hesse

Jenny Holzer: http://adaweb.walkerart.org navigate to Jenny holzer

Lynne Hull: http://www.wecsa.com/ecoart

Fredreich Hundertwasser: www.outbackphoto.com/places/2000/20001022_Hundertwasser.html

Robert Irwin: http://www.artcyclopedia.com navigate to Irwin, see work in collections

Don Judd: (also excellent teaching packets for other contemporary artists) http://www.dallasmuseumofart.org/education.htm

Illya Kabakov: http://www.ilya-emilia-kabakov.com

Frieda Kahlo: http://www.fridakahlo.it/

Tibor Kalman: http://www.adbusters.org/campaigns/first/toolbox/tiborkalman/1.html

Barbara Kruger: http://www.pbs.org/art21/artists/kruger/index.html

Annie Leibowitz: www.the-artists.org/Artists/Leibowitz.html

http://art-meets-art.net/index_k_m.html

www.art-forum.org/z_Leibowitz/Gallery.htm (some nudity) link to Powells.com for interview on Women book with Sontag.

Sherrie Levine: www.artcyclopedia.com/artists/levine_sherrie.html

George Lucas: http://www.starwars.com/bio/georgelucas.html

http://www.glef.org

Sally Mann: http://www.pbs.org/art21/artists/mann/

Stanley Marsh 3, Amarillo Signs: http://recenter.tamu.edu/tgrande/vol8-4/1523.html

Marsh 3, Cadillac Ranch: http://www.amarillo.searchtexas.com/html/cadilac_ranch.html

Steve McCurry: http://www.pdnonline.com/legends/mccurry/ go to this site through google search

http://www.stevemccurry.com

JuliaMorgan: http://architecture.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.coe.berkeley.edu%2Fcues%2Fmorgan.html

Bruce Nauman: http://www.pbs.org/art21/artists/nauman/

Shirin Neshat: http://www.time.com/time/europe/photoessays/neshat/

http://www.res.com search google for Neshat RES article site, won't navigate directly

Adrian Piper: http://www.adrianpiper.com/

Jaune Quick-To-See-Smith: http://www.nmwa.org/collection/profile.asp?LinkID=421

Paul Rand: http://www.mkgraphic.com search Paul Rand

Robert Rauschenberg: http://www.artcyclopedia.com/artists/rauschenberg_robert.html

Faith Ringold: http://www.faithringgold.com

Diego Rivera: http://www.diegorivera.com

http://www.pbs.org/wnet/americanmasters/database/rivera_d.html

Allison Saar http://artscenecal.com/ArticlesFile/Archive/Articles2003/Articles0203/CR0203.html

Betye Saar: http://www.artsconnected.org/artsnetmn/inner/saar3.html

Richard Serra: http://www.pbs.org/art21/artists/serra

http://www.guggenheimcollection.org/ search Serra

Cindy Sherman: http://www.moma.org/exhibitions/1997/sherman/selectedworks.html

Sandy Skoglund: http://www.sandyskoglund.com/

Robert Smithson: http://www.robertsmithson.com

Mark Tansey: www.artcyclopedia.com/artists/tansey_mark.html

James Turrell: http://www.pbs.org/art21/artists/turrell/clip1.html

Bill Viola: http://www.getty.edu/art/exhibitions/viola/art.html

Andy Warhol: http://www.warhol.org/

Carrie Mae Weems: http://www.artcyclopedia.com/artists/weems_carrie_mae.html

Rachel Whitehead: http://www.sculpture.org.uk/artists/RachelWhiteread

Frank Lloyd Wright: http://pbs.org/flw/

http://www.franklloydwright.org/

Yayoi Kusama: http://www.oberlin.edu/allenart/collection/since1945.html

Andrea Zittell: http://www.pbs.org/art21/