7. 1 Robert Mapplethorpe, Larry and Bobby Kissing, 1979

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Presentation transcript:

7. 1 Robert Mapplethorpe, Larry and Bobby Kissing, 1979 7.1 Robert Mapplethorpe, Larry and Bobby Kissing, 1979. 13 5∕8 x 13 5∕8" (34.5 x 34.5 cm). © The Robert Mapplethorpe Foundation. Courtesy Art + Commerce. 7.1 Robert Mapplethorpe, Larry and Bobby Kissing, 1979. 13 5∕8 x 13 5∕8" (34.5 x 34.5 cm). © The Robert Mapplethorpe Foundation. Courtesy Art + Commerce.

7. 2 Andres Serrano, Gun Murder (The Morgue), 1992 7.2 Andres Serrano, Gun Murder (The Morgue), 1992. Cibachrome and plexiglass, 50 x 60" (127 x 152.4 cm). Courtesy Yvon Lambert, Paris. 7.2 Andres Serrano, Gun Murder (The Morgue), 1992. Cibachrome and plexiglass, 50 x 60" (127 x 152.4 cm). Courtesy Yvon Lambert, Paris.

7. 3 Sally Mann, New Mothers from the Immediate Family series, 1989 7.3 Sally Mann, New Mothers from the Immediate Family series, 1989. Gelatin silver print. © Sally Mann. Courtesy Gagosian Gallery. 7.3 Sally Mann, New Mothers from the Immediate Family series, 1989. Gelatin silver print. © Sally Mann. Courtesy Gagosian Gallery.

7. 4 Sally Mann, Untitled (#30) from the Deep South series, 1998 7.4 Sally Mann, Untitled (#30) from the Deep South series, 1998. Gelatin silver print, © Sally Mann. Courtesy Gagosian Gallery. 7.4 Sally Mann, Untitled (#30) from the Deep South series, 1998. Gelatin silver print, © Sally Mann. Courtesy Gagosian Gallery.

7. 5 Ana Mendieta, Untitled from the Silueta (Silhouette) series, 1977 7.5 Ana Mendieta, Untitled from the Silueta (Silhouette) series, 1977. Color photograph, 10 x 8" (25.4 x 20.3 cm). © The Estate of Ana Mendieta Collection. Courtesy Galerie Lelong, New York. 7.5 Ana Mendieta, Untitled from the Silueta (Silhouette) series, 1977. Color photograph, 10 x 8" (25.4 x 20.3 cm). © The Estate of Ana Mendieta Collection. Courtesy Galerie Lelong, New York.

7.6 DUPP, Going After a Trace: To Meet Ana Mendieta’s Cave Sculpture, 1997. Film. Courtesy Galería DUPP. 7.6 DUPP, Going After a Trace: To Meet Ana Mendieta’s Cave Sculpture, 1997. Film. Courtesy Galería DUPP.

7. 7 Adrian Piper, Catalysis IV, 1970 7.7 Adrian Piper, Catalysis IV, 1970. Performance documentation notebook: 2 silver gelatin prints and typescript, 5 x 5" and 9 1∕2 x 11 1∕2", (12.7 x 12.7 cm and 24.1 x 29.2 cm). Private collection, U.S. 7.7 Adrian Piper, Catalysis IV, 1970. Performance documentation notebook: 2 silver gelatin prints and typescript, 5 x 5" and 9 1∕2 x 11 1∕2", (12.7 x 12.7 cm and 24.1 x 29.2 cm). Private collection, U.S.

7.8 Tehching Hsieh, One Year Performance Cage Piece, September 30, 1978– September 29, 1979. Tehching Hsieh, One Year Performance 1978–1979 Life Image © 1979 Tehching Hsieh. Courtesy the artist and Sean Kelly Gallery, New York. 7.8 Tehching Hsieh, One Year Performance Cage Piece, September 30, 1978– September 29, 1979. Tehching Hsieh, One Year Performance 1978–1979 Life Image © 1979 Tehching Hsieh. Courtesy the artist and Sean Kelly Gallery, New York.

7.9 Tehching Hsieh and Linda Montano, One Year Performance (Rope Piece), July 4, 1983–July 4, 1984. Tehching Hsieh, Linda Montano, Art/Life One Year Performance 1983–1984 Life Image © 1984 Tehching Hsieh, Linda Montano. Courtesy the artists and Sean Kelly Gallery, New York. 7.9 Tehching Hsieh and Linda Montano, One Year Performance (Rope Piece), July 4, 1983–July 4, 1984. Tehching Hsieh, Linda Montano, Art/Life One Year Performance 1983–1984 Life Image © 1984 Tehching Hsieh, Linda Montano. Courtesy the artists and Sean Kelly Gallery, New York.

7.10 ORLAN, Omnipresence, 1993. Cibachrome in Diasec mount, 64 7∕8 x 43 1∕4" (125 x 110 cm). Surgery-performance, New York. Courtesy the artist. 7.10 ORLAN, Omnipresence, 1993. Cibachrome in Diasec mount, 64 7∕8 x 43 1∕4" (125 x 110 cm). Surgery-performance, New York. Courtesy the artist.

7.11 ORLAN, African Self-Hybridization: Half-White Half-Black, Mbangu mask with face of European-St.Etienne woman in rollers, 2002. Printed on photographic paper, 49 1∕4 x 61 3∕8" (125 x 156 cm). Courtesy the artist. 7.11 ORLAN, African Self-Hybridization: Half-White Half-Black, Mbangu mask with face of European-St.Etienne woman in rollers, 2002. Printed on photographic paper, 49 1∕4 x 61 3∕8" (125 x 156 cm). Courtesy the artist.

7. 12 Marina Abramović and Ulay, The Lovers—The Great Wall Walk, 1988 7.12 Marina Abramović and Ulay, The Lovers—The Great Wall Walk, 1988. Performance piece walking the Great Wall of China. Courtesy The Marina Abramović Archives and Lisson Gallery, London. 7.12 Marina Abramović and Ulay, The Lovers—The Great Wall Walk, 1988. Performance piece walking the Great Wall of China. Courtesy The Marina Abramović Archives and Lisson Gallery, London.

7.13 Marina Abramović and Michael Laub, The Biography Remix (Snakes), 2004. First performance 1993. Romaeuropa Festival, Teatro Palladium, Rome, Italy. Courtesy The Marina Abramović Archives and Lisson Gallery, London. 7.13 Marina Abramović and Michael Laub, The Biography Remix (Snakes), 2004. First performance 1993. Romaeuropa Festival, Teatro Palladium, Rome, Italy. Courtesy The Marina Abramović Archives and Lisson Gallery, London.

7. 14 Marina Abramović, Shoes for Departure, 1991. Amethyst sculptures 7.14 Marina Abramović, Shoes for Departure, 1991. Amethyst sculptures. Galerie Enrico Navara, Paris. Courtesy The Marina Abramović Archives and Lisson Gallery, London. 7.14 Marina Abramović, Shoes for Departure, 1991. Amethyst sculptures. Galerie Enrico Navara, Paris. Courtesy The Marina Abramović Archives and Lisson Gallery, London.

7.15 Tracy Emin, Just Love Me, 1998. Neon tubes, 14 7∕8 x 45 x 2 1∕2” (38 x 114.4 x 6.5 cm). © the artist, courtesy White Cube. 7.15 Tracy Emin, Just Love Me, 1998. Neon tubes, 14 7∕8 x 45 x 2 1∕2” (38 x 114.4 x 6.5 cm). © the artist, courtesy White Cube.

7.16 Sophie Calle and Greg Shephard, No Sex Last Night (Double Blind), 1992. 35mm film in French and English with English subtitles, 76 minutes. Courtesy of Sophie Calle/Paula Cooper Gallery, New York. 7.16 Sophie Calle and Greg Shephard, No Sex Last Night (Double Blind), 1992. 35mm film in French and English with English subtitles, 76 minutes. Courtesy of Sophie Calle/Paula Cooper Gallery, New York.

7. 17 Sophie Calle, Take Care of Yourself, 2007 7.17 Sophie Calle, Take Care of Yourself, 2007. Top: exhibition view from French Pavilion, 52nd International Art Exhibition, Venice Biennale (June 10–November 19, 2007). Bottom: exhibition view from Paula Cooper Gallery, New York (April 9– June 6, 2009). Courtesy of Sophie Calle/Paula Cooper Gallery, New York. 7.17 Sophie Calle, Take Care of Yourself, 2007. Top: exhibition view from French Pavilion, 52nd International Art Exhibition, Venice Biennale (June 10–November 19, 2007). Bottom: exhibition view from Paula Cooper Gallery, New York (April 9– June 6, 2009). Courtesy of Sophie Calle/Paula Cooper Gallery, New York.

7. 17 Sophie Calle, Take Care of Yourself, 2007 7.17 Sophie Calle, Take Care of Yourself, 2007. Top: exhibition view from French Pavilion, 52nd International Art Exhibition, Venice Biennale (June 10–November 19, 2007). Courtesy of Sophie Calle/Paula Cooper Gallery, New York. 7.17 Sophie Calle, Take Care of Yourself, 2007. Exhibition view from French Pavilion, 52nd International Art Exhibition, Venice Biennale (June 10–November 19, 2007). Courtesy of Sophie Calle/Paula Cooper Gallery, New York.

7. 17 Sophie Calle, Take Care of Yourself, 2007 7.17 Sophie Calle, Take Care of Yourself, 2007. Bottom: exhibition view from Paula Cooper Gallery, New York (April 9– June 6, 2009). Courtesy of Sophie Calle/Paula Cooper Gallery, New York. 7.17 Sophie Calle, Take Care of Yourself, 2007. Exhibition view from Paula Cooper Gallery, New York (April 9– June 6, 2009). Courtesy of Sophie Calle/Paula Cooper Gallery, New York.

7.18 Kiki Smith, Untitled, 1989–90. Glass and rubber, 3 x 108 x 108” (7.6 x 274.3 x 274.3 cm). © Kiki Smith, courtesy Pace Gallery. Photograph courtesy the artist and Pace Gallery. 7.18 Kiki Smith, Untitled, 1989–90. Glass and rubber, 3 x 108 x 108” (7.6 x 274.3 x 274.3 cm). © Kiki Smith, courtesy Pace Gallery. Photograph courtesy the artist and Pace Gallery.

7.19 Kiki Smith, Untitled, 1990. Beeswax and microcrystalline wax figures on metal stands. Height of female figure 73 1∕2" (186.7 cm); height of male figure 76 15∕16” (195.4 cm). Whitney Museum of American Art, New York. © Kiki Smith, courtesy Pace Gallery. Photograph courtesy the artist and Pace Gallery. 7.19 Kiki Smith, Untitled, 1990. Beeswax and microcrystalline wax figures on metal stands. Height of female figure 73 1∕2" (186.7 cm); height of male figure 76 15∕16” (195.4 cm). Whitney Museum of American Art, New York. © Kiki Smith, courtesy Pace Gallery. Photograph courtesy the artist and Pace Gallery.

7. 20 Mona Hatoum, The Light at the End, 1989 7.20 Mona Hatoum, The Light at the End, 1989. Angle iron frame and six electric heating elements, 65 3∕8 x 63 15∕16 x 1 15∕16" (166 x 162.4 x 5 cm). Courtesy White Cube. 7.20 Mona Hatoum, The Light at the End, 1989. Angle iron frame and six electric heating elements, 65 3∕8 x 63 15∕16 x 1 15∕16" (166 x 162.4 x 5 cm). Courtesy White Cube.

7. 21 Mona Hatoum, Corps étranger (Foreign body), 1994 7.21 Mona Hatoum, Corps étranger (Foreign body), 1994. Video installation with cylindrical wooden structure, video projector, video player, amplifier and four speakers, 137 13∕16 x 118 1∕8 x 118 1∕8" (350 x 300 x 300 cm). Centre Pompidou. Courtesy Centre Pompidou, Paris. 7.21 Mona Hatoum, Corps étranger (Foreign body), 1994. Video installation with cylindrical wooden structure, video projector, video player, amplifier and four speakers, 137 13∕16 x 118 1∕8 x 118 1∕8" (350 x 300 x 300 cm). Centre Pompidou. Courtesy Centre Pompidou, Paris.

7. 22 Felix Gonzalez-Torres, “Untitled” (Portrait of Ross in LA), 1991 7.22 Felix Gonzalez-Torres, “Untitled” (Portrait of Ross in LA), 1991. Candies individually wrapped in multicolored cellophane, endless supply. Overall dimensions vary with installation. Ideal weight 175 lbs (79 kg). © The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York. 7.22 Felix Gonzalez-Torres, “Untitled” (Portrait of Ross in LA), 1991. Candies individually wrapped in multicolored cellophane, endless supply. Overall dimensions vary with installation. Ideal weight 175 lbs (79 kg). © The Felix Gonzalez-Torres Foundation. Courtesy of Andrea Rosen Gallery, New York.

7. 23 Janine Antoni, Butterfly Kisses, 1993 7.23 Janine Antoni, Butterfly Kisses, 1993. Cover Girl Thick Lash mascara, 1,124 winks per eye. Diptych, each 22 1∕8 x 15" (56.19 x 38.1 cm). The Museum of Modern Art, New York. Courtesy of the artist and Luhring Augustine, New York. 7.23 Janine Antoni, Butterfly Kisses, 1993. Cover Girl Thick Lash mascara, 1,124 winks per eye. Diptych, each 22 1∕8 x 15" (56.19 x 38.1 cm). The Museum of Modern Art, New York. Courtesy of the artist and Luhring Augustine, New York.

7. 24 Janine Antoni, Gnaw, 1992. Installation shot 7.24 Janine Antoni, Gnaw, 1992. Installation shot. 600 lbs (272 kg) of chocolate gnawed by the artist (24 x 24 x 24"; 60.96 x 60.96 x 60.96 cm); and the same weight and size of lard, also gnawed by the artist. In the background, Lipstick/Phenylethylamine Boutique comprising 45 heart-shaped packages for chocolate made from chewed chocolate removed from the chocolate cube and 150 lipsticks made with pigment, beeswax and chewed lard removed from the lard cube. The Museum of Contemporary Art, Los Angeles. Courtesy of the artist and Luhring Augustine, New York. 7.24 Janine Antoni, Gnaw, 1992. Installation shot. 600 lbs (272 kg) of chocolate gnawed by the artist (24 x 24 x 24"; 60.96 x 60.96 x 60.96 cm); and the same weight and size of lard, also gnawed by the artist. In the background, Lipstick/Phenylethylamine Boutique comprising 45 heart-shaped packages for chocolate made from chewed chocolate removed from the chocolate cube and 150 lipsticks made with pigment, beeswax and chewed lard removed from the lard cube. The Museum of Contemporary Art, Los Angeles. Courtesy of the artist and Luhring Augustine, New York.

7. 25 Gabriel Orozco, My Hands Are My Heart, 1991 7.25 Gabriel Orozco, My Hands Are My Heart, 1991. Silver dye bleach print, 9 1∕8 x 12 1∕2" (23.1 x 31.7 cm). Courtesy of the artist and Marian Goodman Gallery, New York/Paris. 7.25 Gabriel Orozco, My Hands Are My Heart, 1991. Silver dye bleach print, 9 1∕8 x 12 1∕2" (23.1 x 31.7 cm). Courtesy of the artist and Marian Goodman Gallery, New York/Paris.

7. 25 Gabriel Orozco, My Hands Are My Heart, 1991 7.25 Gabriel Orozco, My Hands Are My Heart, 1991. Silver dye bleach print, 9 1∕8 x 12 1∕2" (23.1 x 31.7 cm). Courtesy of the artist and Marian Goodman Gallery, New York/Paris. 7.25 Gabriel Orozco, My Hands Are My Heart, 1991. First of two parts. Silver dye bleach print, 9 1∕8 x 12 1∕2" (23.1 x 31.7 cm). Courtesy of the artist and Marian Goodman Gallery, New York/Paris.

7. 25 Gabriel Orozco, My Hands Are My Heart, 1991 7.25 Gabriel Orozco, My Hands Are My Heart, 1991. Silver dye bleach print, 9 1∕8 x 12 1∕2" (23.1 x 31.7 cm). Courtesy of the artist and Marian Goodman Gallery, New York/Paris. 7.25 Gabriel Orozco, My Hands Are My Heart, 1991. Second of two parts. Silver dye bleach print, 9 1∕8 x 12 1∕2" (23.1 x 31.7 cm). Courtesy of the artist and Marian Goodman Gallery, New York/Paris.

7. 26 Gabriel Orozco, Yielding Stone, 1992 7.26 Gabriel Orozco, Yielding Stone, 1992. Plasticine, 14 x 17 x 17" (35.6 x 43.2 x 43.2 cm). Walker Art Center. Courtesy of the artist and Marian Goodman Gallery, New York/Paris. 7.26 Gabriel Orozco, Yielding Stone, 1992. Plasticine, 14 x 17 x 17" (35.6 x 43.2 x 43.2 cm). Walker Art Center. Courtesy of the artist and Marian Goodman Gallery, New York/Paris.

7. 27 Teresa Margolles, En el Aire (In the Air), 2003 7.27 Teresa Margolles, En el Aire (In the Air), 2003. Bubbles made using morgue water used during autopsy procedures. Exhibition view at “Muerte sin Fin,” Museum für Moderne Kunst, Frankfurt am Main, Germany, 2004. Courtesy the artist and Galerie Peter Kilchmann, Zurich. 7.27 Teresa Margolles, En el Aire (In the Air), 2003. Bubbles made using morgue water used during autopsy procedures. Exhibition view at “Muerte sin Fin,” Museum für Moderne Kunst, Frankfurt am Main, Germany, 2004. Courtesy the artist and Galerie Peter Kilchmann, Zurich.

7. 28 Teresa Margolles, Untitled, 2010 7.28 Teresa Margolles, Untitled, 2010. Concrete and morgue water used during autopsy procedures. Shown installed at Los Angeles County Museum of Art. Courtesy of the artist and Y Gallery, New York. 7.28 Teresa Margolles, Untitled, 2010. Concrete and morgue water used during autopsy procedures. Shown installed at Los Angeles County Museum of Art. Courtesy of the artist and Y Gallery, New York.

7.29 Santiago Sierra, Line of 30 cm Tattooed on a Remunerated Person, 1998. Performance at 51 Regina Street, Mexico City, May 1998. Courtesy the artist and KOW, Berlin. 7.29 Santiago Sierra, Line of 30 cm Tattooed on a Remunerated Person, 1998. Performance at 51 Regina Street, Mexico City, May 1998. Courtesy the artist and KOW, Berlin.

7.30 Santiago Sierra, The Wall of a Gallery Pulled Out, Inclined 60 Degrees from the Ground and Sustained by 5 People, 2000. Galería Acceso A, Mexico City, April 2000. Courtesy the artist and KOW, Berlin. 7.30 Santiago Sierra, The Wall of a Gallery Pulled Out, Inclined 60 Degrees from the Ground and Sustained by 5 People, 2000. Galería Acceso A, Mexico City, April 2000. Courtesy the artist and KOW, Berlin.