1. Photography out of Conceptual (Pop & Minimal, and performance) Art Why has photography moved from the margin to the center of contemporary art in the last 40 years?
Barbara Kruger Untitled
(You are Not Yourself), 1981

2. Installation view of the 1970 Information exhibition, MoMA NYC, which marks the institutional “success” of text-based Conceptual art documented by photographs.

3. Joseph Kosuth, One and Three Chairs, 1965, wooden folding chair, photographic copy of a chair and photographic enlargement of a dictionary definition of a chair

4. Gilbert and George, The Singing Sculpture, 1970, photograph of performance (Gilbert Proesch, b.1943, Italy; George Passmore, b. 1942, England). “Banal” photographic documentation of ephemeral works, like this “living sculpture.”
Gilbert & George with Ginkgo series,
British pavilion Venice Biennale 2005,
included in the 2008 retrospective.

5. Zhang Huan (China, b. 1965), To Raise the Water Level in a Fishpond by One Meter, 1997, performance documentation (detail), August 15, 1997, unemployed Beijing workers, Chromogenic print. Primary artwork is performance, not photograph.

6. Denis Oppenheim, Reading Position for Second Degree Burn, 1970, Stage 1 and Stage 2, book, skin, solar energy, exposure time 5 hours, Jones Beach, New York, color photography and collage, 216 x 152 cm . Photographs “were there simply to indicate a radical art that had already vanished….necessary only as a residue for communication.”

7. Bruce Nauman, Eating My Words, and Self-Portrait as a Fountain, from Eleven Color Photographs, 1966/67-70, chromogenic color print / performed for the camera

8. John Baldessari (United States, b
John Baldessari (United States, b. 1931) (“Father” of Pictures Generation”) (left) Wrong, , acrylic, photo-emulsion on canvas, 59 x 45 in. (right) Astronauts and Businessmen, 1988 Gelatin Silver photograph with applied paint, Museum of Fine Art, Houston

9. Ed Ruscha, Flying A, Kingman, Arizona, from Twentysix Gasoline Stations, 1963, photographic book

10. Through his deliberate lack of style, Ruscha draws attention “to the estranged relationship of people to their rural environment, but without staging or dramatizing the estrangement.”
Compare Ruscha’s (1963) vision of the American West (above) with Ansel Adams’ interpretation based on Romantic landscape aesthetics, (right) Moonrise over Hernandez, NM. October 31, Adams made “Art” and did not work in other media.

11. Adams, Grand Tetons and the Snake River, 1942
Bierstadt, The Rocky Mountains, 1863

12. Ed Ruscha, Standard Station, Amarillo, Texas, 1963, oil on canvas, 5’5” x 10’, Dartmouth

13. Ed Ruscha took the photographs contained in this folio with a motorized Nikon camera mounted to the back of a pick-up truck. This allowed him to photograph every house on the Sunset Strip while driving – first down one side of the street and then the other. The pictures were then pasted in order, and the individual buildings were labeled with their respective house numbers.

15. Ed Ruscha, The Old Trade School Building, 2005, synthetic polymer on canvas 54 x 120 in, from The Course of Empire Series, US Pavilion, Venice Biennale, (bottom) Blue Collar Trade School, 1992, Synthetic polymer on canvas, 54 x 120

16. Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey,” from Artforum, vol.6, no.4, December 1967, pp

17. Robert Smithson (American Environmental Artist, ), Spiral Jetty, 1970, Great Salt Lake. Earthwork

18. Anselm Kiefer (German, b. 1945), Heroic Symbol , 1969

19. Hans Haacke, detail of Shapolsky et al, Manhattan Real Estate Holdings, a Real Time System as of May 1, 1971, 1971, two enlarged photographs, 142 black and white photographs with typewritten data sheets, six charts and one explanatory panel

20. Bernhard and Hilla Becher Conceptual (typological) photography (left) Gas Tanks, (right) Water Towers, 1980, 9 b/w photographs mounted on board, 62inH overall

21. Thomas Struth (German, b
Thomas Struth (German, b. 1954), Sommerstrasse, Düsseldorf, 1980, Gelatin silver print, 16 1/2 x 22 1/2 in., Dallas Museum of Art

22. Thomas Struth (Germany, b
Thomas Struth (Germany, b.1954, student of Bechers) Shinju-ku (Skyscrapers), Tokyo, (right) Ferdinand-von-Schill-Strasse, Dessau, 1991

23. Candida Höfer (Germany, 1944, student of Bechers) (left) Stiftsbibliothek Klosterneuburg III, 2003, C-print, 68 in. H Ca' Rezzonico Venezia II, 2003, C-print, 74 in. Width

24. Thomas Ruff (German, b. 1958), House #9 II, 1991, 72 in
Thomas Ruff (German, b.1958), House #9 II, 1991, 72 in. H one of series taken in early morning, apartment blocks in Eastern Germany

25. Thomas Ruff, (left) Portrait, 1989, 63in
Thomas Ruff, (left) Portrait, 1989, 63in. H (center and right) from Portrait series, 2001, conceptual typologies “absolute objectivity” like passport photos except for scale
'... Like archetypal passport photos...
young people with dead eyes and
empty faces.' Ruff

26. Martha Rosler, detail of The Bowery in Two Inadequate Descriptive Systems, 1974, 45 black and white photographs mounted on 24 mat-board panels, each panel 25 x 56 cm

27.
2008 New York Times slide show: Rosler talking about her work 1960’s-2008
Martha Rosler (US, 1943) Cleaning the Drapes, from series, Bringing the War Home: House Beautiful,

28. (left) Eduardo Paolozzi Its a Psychological Fact That Pleasure Helps Your Disposition, 1948, collage. Affirmative or adversarial (avant-garde) posture? Shown in his influential 1952 “Bunk” slide lecture that marks the beginning of British Pop. “Bunk” is from Henry Ford: “history is more or less bunk….we want to live in the present.” British Pop (right) Hannah Höch, The Beautiful Girl, collage (photomontage), 1919, Berlin Dada / Adversarial posture toward commercial culture – what was Paolozzi’s attitude towards it?

29. Allan Sekula, detail of Aerospace Folktales, 1973, 51 black and white photographs in 23 frames, 56 x 72 cm each, three red canvas director’s chairs, three CD players and speakers, three simultaneous unsynchronized audiotape recordings: duration 17 min, 21 min and 23 min, edition 1 of 2
Produces Berthold Brecht’s “alienation effects” that make viewers continually aware that they are looking at a representation. Participants are highly conscious of the camera. Sekula consciously pretends a (fictional) objectivity

30. Eleanor Antin, from The King of Solana Beach, 1974, Eleven black-and-white photographs, mounted on board with two text panels, 6 x 9 inches each
"I took on the [persona of the] King, who was my male self. As a young feminist I was interested in what would be my male self…he became my political self." — Eleanor Antin

31. Eleanor Antin, Carving: A Traditional Sculpture, 1972, grid of 144 photographs of her naked body during a month of crash-dieting. Spoof (serious humor) on dieting obsession of post-sixties US women’s culture

32. Eleanor Antin, 100 Boots: (top) 100 Boots Move On; (bottom) Tree Boots Conceptual series of 51 pictures of black rubber boots photographed in various locations from coast to coast across the United States from 1971 to 1973.

33. Cindy Sherman (US, b.1954) Untitled Film Still #27, film stills from 1977 (23 years old) to She stopped, she has explained, when she ran out of clichés.

34. "She's good enough to be a real actress.“ Andy Warhol
Cindy Sherman, (left) Untitled Film Still #35, 1979; (right) Untitled Film Still # The Museum of Modern Art, New York. 8 x 10” glossies just like “real” film stills.
"She's good enough to be a real actress.“
Andy Warhol

35. Cindy Sherman, (left) Untitled Film Still #37, (right) UFS #13, 1979

36. (left) Cindy Sherman, Untitled #188, Chromogenic color print, 43 ½ x 65 ½,“ (right) Hans Bellmer (German, ) 'Poupee' (Doll) in Hayloft, (historical source for Sherman)

37. (left) Sherrie Levine (US Postmodern Appropriation artist, b
(left) Sherrie Levine (US Postmodern Appropriation artist, b.1947) Untitled (After Alexander Rodchenko: 9), (right) Alexander Rodchenko (Russian Constructivist, avant-garde modernist), ), Portrait of Mother, 1924
Postmodern “Appropriation” of “high” art challenged modernism’s key values of “originality” and “aura.” Key text: Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”

38. Andy Warhol, (left) Gold Marilyn Monroe, 1962, acrylic, silkscreen and oil on canvas; (right) Marilyn, Series followed Monroe’s (probable) suicide in August Appropriated photographic image from mass visual culture.

39. (left) Sherrie Levine, After Walker Evans, 1981 – a photograph of reproduction of a photograph (right) Walker Evans, Hale County, Alabama, (Or is it the other way around?) Key text: Rosalind Krauss: “The Originality of the Avant-garde and other Modernist Myths” Post-structuralism – postmodern revision of modern theory

40. Richard Prince (American, born 1949), Untitled (four single men with interchangeable backgrounds looking to the right), 1977, Mixed media on paper, 23 x 19 in. Metropolitan Museum, NYC

41. Richard Prince, (left) Untitled (cowboy), 1981, Ektacolor photograph, 20 x 24 in (right) Untitled (cowboy) , Ektacolor photograph, 27 x 40 in. “Pictures Generation” appropriation from mass visual culture: advertising photography

42. Barbara Kruger (U.S. b. 1945), (left) Untitled (Your Gaze Hits the Side of My Face), 1981, gelatin silver print, 72 x 48 in.; (right) Untitled (I Shop Therefore I Am), Pictures Generation

43. Louise Lawler (American, born 1947), Pollock and Tureen, Arranged by Mr. and Mrs. Burton Tremaine, Connecticut, 1984, silver dye bleach print, 28 x 39 in.

44. Laurie Simons (U.S, b.1949), First Bathroom/Woman Standing, 1978

45. Laurie Simmons Tourism: Parthenon/First View,1984, Cibachrome, 40 x 60 in.

46. Jeff Wall (Canadian, 1946), Picture for Women, 1979 transparency in light box, approx. 5 x 7ft

47. (left) Jeff Wall, Picture for Women, transparency in lightbox, 1979, around 5ft x 7ft; compare (right) Edouard Manet, A Bar at the Folies-Bergère, oil on canvas, 1882

48. Jeff Wall (Canada, b. 1946) Installation view of the exhibition Documenta 8, Kassel, Germany, 1987, showing The Storyteller, cibachrome transparency, lightbox, 1986

49. Jeff Wall, A Sudden
Gust of Wind (After Hokusai),
transparency in light-box, 1993, 7ft x 12ft.
Hokusai, Ejiri in Suruga Province
c , woodblock print from
series, 36 Views of Fuji, 26 x 38 cm

50. Jeff Wall, After Ralph Ellison, Invisible Man, The Preface, , cibachrome transparency, aluminum light box, 76 x 106 x 10 in. Literary source: Invisible Man (1952) by African-American novelist, Ralph Ellison ( )

51. Allan Sekula (US. b. 1951), Panorama
Allan Sekula (US. b. 1951), Panorama. Mid-Atlantic, 1993, plate 28, from Fish Story, 105 color photographs, 26 text panels, 2 slide sequences featured in globalist Documenta 11, “The old myth that photographs tell the truth has succumbed to the new myth that they don’t.” - Sekula
Return to social engagement of documentary photography

53. Sekula, Detail, Inclinometer: Mid-Atlantic, 1993, from Fish Story, , “Middle Passage,” chapter 3, plate 27
A “detailed account of the general political and economic transformation brought about by the globalization of late capitalist rule.”
- Benjamin Buchloh

54. Sekula, Third Assistant Engineer Working on the Engine while Underway, 1993, from Fish Story, “Middle Passage,” chapter 3, plate 31

55. Sekula, Conclusion of the Search for
The Disabled and Drifting Sailboat Happy
Ending, 1993, from Fish Story, “Middle
Passage,” chapter 3, plates 32-4

56. Felix Gonzalez-Torres (American b. Cuba NYC 1996), Untitled, As installed for The Museum of Modern Art, New York "Projects 34: Felix Gonzalez-Torres“ May 16 - June 30, 1992: 2 of 24 locations throughout New York City "EMERGING WOR(L)DS": June October 2008:
Gonzalez-Torres represented the United States at the 2007 Venice Biennale

57. Christian Boltanski (French, b
Christian Boltanski (French, b. 1944) Jewish School of Grosse Hamburgstrasse in Berlin in 1939, 1991, moving photographs, fans, florescent lamps, dimensions variable
Monument (Odessa), , gelatin silver prints, tin biscuit boxes, lights, and wire

58. Christian Boltanski, The Reserve of Dead Swiss, 1990 (two different installations)
We hate to see the dead, yet we love them,
we appreciate them
Boltanski

59. Annette Messager (French, b
Annette Messager (French, b. 1943) My Vows (Mes Voeux), , gelatin-silver prints under glass and string, dimensions variable
detail

60. Annette Messager, My Vows, 1990. Gelatin silver prints and string
Annette Messager, My Vows, Gelatin silver prints and string. Dimensions vary with installation, approx.: 140 x 73 inches. Solomon R. Guggenheim Museum, 2007 purchase
Catholic votives

61. Robert Longo (U.S. b. 1953), Men in the Cities - Men Trapped in Ice 1980 Charcoal and graphite on paper 60 x 40 inches/152.4 x cm, each panel

62. Robert Longo, Men in the Cities: Final Life, 1982, Documenta 7, 1982, Kassel, Germany Pictures Generation

63. (left) David Salle (US, b
(left) David Salle (US, b. 1952), His Brain, 1984, oil and acrylic on canvas, acrylic on fabric, two panels, 9 ft 9 in x 8 ft 10 in overall [PICTURES GENERATION] (right) compare Salle with James Rosenquist (US, b. 1933), President Elect, and (right below) Sigmar Polke (German, 1941), Alice in Wonderland, 1971

64. David Salle, Comedy, 1995, oil and acrylic on canvas, two panels: 96 1/4 x 144 1/8 inches overall; Solomon R. Guggenheim Museum

65. Secret brutalities of middle class lives
Eric Fischl (US, b. 1948) Bad Boy, 1981, oil on canvas, 5ft 6in x 8ft decadent suburbia
Edgar Degas, Interior,1868-9
Secret brutalities of middle class
lives

66. Eric Fischl, Sleepwalker, 1979, oil on canvas “What’s an adolescent boy’s masturbation about anyway if it’s not, in some sense, a separation technique? He’s separating from his parents. He’s becoming aware of himself.” Fischl

67. Eric Fischl, A Visit to / A Visit from / The Island, 1983

68. (left) Eric Fischl, Bedroom Scene #7 (After the Tantrum, Unholy News) 2004, oil on linen, 65 x 98 in. From photographic series: “The Krefeld Project,” (2002) For several days two actors posed for artist in Museum Haus Esters in Krefeld, Germany, which was designed by Mies van der Rohe in 1928 to be a private home. Furnished for the shoots by the artist. (right) compare “Painter of Modern Life,” Edouard Manet (French, ): In the Garden, 1879, oil on canvas, 115 x 150 cm

69. Eric Fischl, Krefeld Project: Dining Room Scene 2, 2003, oil on Linen, 89 x 124 inches.

70. Fischl, Bedroom Scene #1, 2003, from photographic series: “The Krefeld Project” (2002) (right) compare Edward Hopper (US, ), Hotel Room, 1931, oil on linen