| Volltext: | I N D E X Page numbers in boldface indicate illustrations. Abstract expressionism, 66, 76, 8o, no, 118, 120-121 Abstraction, 7, 80,110,120,155,205 abstract forms and spatial experience, 23, 27.137-139. 254 as a function of copying or transcription, 61, 97-98, ют, 184, 256-258 play between abstraction and representation, 12, 61,117,120,149,249 Acconci, Vito, 213,215-221,224-225, 233 Following Piece, 215-217, 216, 219-221, 224 Proximity Piece, 215,218 Seedbed, 213, 215, 218-220 Ace Gallery, 1-3,35-37,41,45, 51, 233 Actions. See Performance Ad Hoc Women Artists' Group, 167 AIDS, 63,145,155,198 American Family Association, 88 Andre, Carl, 2-3,23, 27-31,45,49 Equivalents I-VIII, 29, 30-31 Fall, 2-3,45,47 Twelfth Copper Corner, 27-30,28 "Anti-Illusion: Procedures, Materials" (Whitney Museum), 132-134,136, 246 Antin, Eleanor, 115, 225-226 Carving: A Traditional Sculpture, 225-226, 227 Antoni, Janine, 7-11,137-143,158,224,251- 254, 256-258 Eureka, 142,144 Gnaw, 7-11,9,13,137-140,138,139,142 Lick and Lather, 140-142,141,158 Mortar and Pestle, 251-252,253 Slumber, 256-258,257,259 Appropriation, 65, 67, 76,83-84,87, 90-95, 102,183,186,200 Armstrong, Carol, 123,125 Arning, Bill, 84 Artifacts and relics, 43,142,187-193, 236-237, 249 Artists' Authorship Rights Act, New York, 90 Art Workers Coalition (AWC), 51,167 Asher, Michael, 53,134,171-175, 203-207 installation at "73rd American Exhibition" Art Institute of Chicago, 171-173,172 Asher, Michael (cont.) Painting and Sculpture from the Museum of Modern Art: Catalog of Deaccessions 192p through 1998 by Michael Asher, 174-175, 176-177 "Skulptur" installation, 203-207,204,206, 207 Audience, 16,195,203, 213, 217-221, 235,251 audience or viewer participation, 139,142, 149,152,215, 218-219, 246 Auster, Paul, 223 Authenticity, 174,182,200. See also Authorship as a function of the original, 71-72,182 internal versus external evidence of, 5, 26, 34, 53,56,154,168 Authorship. See also Authenticity; Copyright; Moral or integrity rights as an act of designation or arrangement, l- 3, to, 15, 63,105,154,171,183,200, 203, 208,243 based on stylistic unity, 8-11,129,186 as a classification system, 5-6,8, то, 15,24, 66,102,105,114,127,171,182,186, 233, 235 internal versus external evidence of, 3-5,8, 15-16,23-24,26-27,34, 77 and issues of authority, 1-3, 6,24-25,27,31, 35-36,38-42,45,49-53, 56, 70,73 layering of, 78, 82-84, 86, 89,102,105,171, 183 and mass production, 78, 80, 91 and property rights, 81,84-85,87-88, 91, 93 as a vehicle for heterogeneity, 8-11, 65, 90- 91,129,166, 243 withdrawal or failure of, 1-2,25, 27, 30,36, 39 Avalanche, 217, 218,233 Avant-garde, 62, 65, 67-68,70,73,105, in Aycock, Alice, 220 Baldessari, John, 168 Ballantine, Peter, 41 Barry, Robert, 229 Barthes, Roland, 23 Battcock, Gregory, 34 Bear, Liza, 215 Beebe, Morton, 88 Benjamin, Walter, 65-66, 72 Berlin, Brigid, 74,76,78 Bernstein, Cheryl (Carol Duncan), 34, 83 Beuys, Joseph, 139-140,152, 219 Bianchini Gallery, 78, 82 Blake, Nayland, 149-151 Feeder 2,149-151,150 Gorge, 149-150,151 Blum, Anna, 145 Bochner, Mel, 26 Body in action or performance, 12,134,137,140, 191,193, 215, 235-236, 244, 251 fragmented, 62,116,147,191, 246, 254 mark or trace of, 7-8,137-143,193,224, 236,243-258 play between presence and absence, 139- 142, 220,223-226,236,243-258 symbolic equivalent, 142,155, 243 Bourdieu, Pierre, 183 Bourdon, David, 76 Brancusi, Constantin, 64, 80 Brand names and trademarks, 64, 67, 77-78, 94Л37Л39 Breder, Hans, 236 Broodthaers, Marcel, 127,173,178 Brüggen, Coosje van, 224 Buchloh, Benjamin, 26, 35, 53,118-119,120 Bunnell, Peter, 114 Burden, Carter, 33 Burden, Chris, 219 Buren, Daniel, 169 Bürger, Peter, 67-68 Burton, Scott, 133 Cage, John, 224 Calle, Sophie, 221-223 The Shadow (Detective), 221-223,222 Camfield, William, 64 Campbell, Barbara, 93 Cardiff, Janet, 203 Carey, Ted, 76 Castelli, Leo, 35, 66 Gallery, 35,37,41, 81, 86,132,133,134 Casts, 7-8, 61, 64, 66, 71-73, 80, 95, 97,105, 133-134,140,142,158,173,178-179.184. 238, 244, 246. See also Copies Caulfield, Patricia, 84-87, 94 photograph of hibiscus flowers, 84-86,85 Certificates and contracts, 3,4,14-15, 24, 26, 30, 34-38,42,43,45-46,48-49. 51. 53. 56,154-155,198. See also Documentation Cézanne, Paul, 65,109,110 Chocolate, 7-10,137,139,140,142,149,158 Christmas, Douglas, 35 Clert, Iris, 223 Close, Chuck, 121-123 Robert/Fingerprint, 122,124 Colacello, Bob, 78 Coleman, James, 151 Collecting, 3-4, 6, 8,12,16, 25,34-39,42-43, 45-46,48,152,235 by artists, 10,173,186-187,190-191,238 by museums, i o, 11,24-25,27, 30, 63, 70- 72,129,163-167,184,186 through reproductions, 65, 68,72,186, 190-191, 226 as subject, 169-171,175-184,187,191,193 Commodities and commodification, 15, 64, 67, 80-81,87, 91-95 Conceptual art, 6,11,26,34-36,39,45, 98,129, 133,134,136, 215, 217, 223, 238, 243- 244 as a basis for subsequent practices, 98,115, 137.149.152-154.158,187,193-195. 203, 238,243 and emphasis on idea or dematerialization, 6, 26,48,56, 68,136, 221, 223, 228-229 and institutional critique, 165,167,173 and minimal art, 6,23,26-27,34~36 38- 42,53,56,154 and performance, 114, 215,217, 223 and photography, 114,151-152,166,223, 225-229, 235, 243 and play with legal conventions, 1-2, 26,53, 228 and role of plan or instructions, 6,15,26-27, 34, З9-40,45-46,167,175, 215,228,244 Connoisseurship, 5, 7,72 Conservation and preservation, 5, 8,10,12, 14-15,24-25,14°, 143-149,171-173, 186-187 Context, 12,15-16, 24-25,113,123,143,154— 155,163,165,179,182-184,205, 208 of interpretation and reception, 5-6, 56, 65-66, 68,71,105,127 ofthe museum, 10-11,165-167,171-173, 186,191,198, 200, 203 Contracts. See Certificates and contracts Copies, 3,7,31, 34, 64-67, 71-74, 77,84,88- 95,113, 200. See also Casts; Remaking and reconstructions; Reproduction as a basis for quotation and reference, 65, 74,88,102,105,122,183 exhibition copies, 35,37, 244 hand-painted copies, 31, 33, 76,120-121 inherent in serial forms, 3,23 as mediation or transformation, 65, 95, 97- 98,101-102,113,117,122 and originals, 12,72-73, 76,171 Coplans, John, 226 Copyright, 12, 53, 64,84-94 fair use, 90-93 Crimp, Douglas, 23, 74, 95 Crone, Rainer, 77, 8i, 86-87 Crow, Thomas, 83,87,11 o, 117-118,120 Cunningham, Merce, 224 INDEX 2 9 8 • 299 Dauman, Henri, 88, 94 De Antonio, Emile, 74,76 Dearing, James, 40-41 Decay or deterioration, 8,15,25,134,140,143, 145,149,152 Degas, Edgar, 178-179,182 Deitcher, David, 154 De Kooning, Willem, 66 Del Balso, Dudley, 38 Del Rio, Petra Barreras, 235 Diagrams, 27,33-34,36,42,45-46. See also Documentation; Plans and instructions Digital imaging, 97,101,120-121,125 Dion, Mark, 186-187 New England Digs, 187,188-189 Documenta, 117,129,173 Documentation. See also Certificates and contracts; Diagrams; Plans and instructions of ephemeral or site-specific works, 12,14, 15,115,145,152,171,193,198,215-217, 219-225, 228-229, 233-239.243, 251- 252,258 external to or in place of the object, 16, 24, 26,34-35,37,42,45, 53,56,70, 74 as a form of delay, 217,223, 236 as indication of artistic intent, 16,24,43, 45. 56 intrinsic to the work, 114,163,166-169, 186, 220-226,237,243,249-251 Duchamp, Marcel, 1-2, 63-72, 78,80, loi- 102,105,111,171,173,187, 243,249. See also Readymades Box in a Valise, 68-71,69,78,102,173 Fountain, 63-64,70,78,105 Green Box, 1-2,171 L.H.O.O.Q., 78,102,104 Duncan, Carol (pseudonym Cheryl Bernstein), 34. 83 Duve, Thierry de, 26,111,129 Dwan Gallery, 233 Earthworks, ll, 220, 233-236, 243 Editions, 31,38, 70-71, 77, 235 limited editions, 3,12,31,65,70-71, 73, 93 Fabrication, 1,3,6,24, 26,36-38,40,45,48, 64,70, 91,105,133,149, 228. See also Minimal art; Post-studio art and delays between conception and realization, 6,14-15,35-36,42 and role of plans or instructions, 2, 6,36-42 or use of prefabricated components, 3,23- 24,36, 64 Factor, Donald and Lynn, 31,33 Fake or forgery, 34, 73~74 83,179 Ferus Gallery, 76 Film, 115, 219, 233-237,243, 246 Fischer, Konrad, 45 Gallery, 228 Flavin, Dan, 23,36,42-43, 53-56 certificate for Untitled 6B, 55 Greens Crossing Greens (to Piet Mondrian who lacked green J, 43,44 Untitled 6B, 54 Formal analysis, 72,136-139,143,149,154, 171,243,252 Foster, Hal, 23 Foucault, Michel, 24 Fraser, Andrea, 183-184 May I Help You?, 183-184,185 Fried, Michael, 23,26 Friedrich, Heiner, 53 Gallery, 43, 53 Fusco, Coco, 193,195 Two Undiscovered Amerindians, 193,195, 196 Geldzahler, Henry, 76, 86 Gender, 8, 65,87,143,191 General Services Administration (GSA), 48- 49.51 Genre categories, 109-111,114,117,122-129, 136. See also History painting; Landscape; Portraiture; Still life Glaser, Bruce, 33,40 Gluck, Nathan, 74, 78 Gober, Robert, 62-63, 65, H3. H5 M7_ 149 BagofDonuts, 143,145,147-149,148 Three Urinals, 62-63, 63 Gómez-Peña, Guillermo, 193,195 Two Undiscovered Amerindians, 193,195, 196 Gonzalez-Torres, Felix, 154-155,158,198 Untitled (The End), 155,157 Untitled (Strange Bird), 198,199 Untitled (USA Today), 155,156 Greenberg, Clement, 66,110 Guerrilla Art Action Group (GAAG), 167 Guggenheim Museum (New York), 34,45, 166-167,169,195 Gursky, Andreas, 120 Rhein, 120,121 Haacke, Hans, 53,127,129,166-171,175,178- 182,195,233 Manet-PROJEKT '74,168-171,170 Oelgemaelde, Hommage à Marcel Broodthaers, 127,130-131 ViewingMatters, 175,178-182,180-181 Hackett, Pat, 78 Hamilton, Ann, 249, 251 Face to Face, 249, 251,251 Hammons, David, 61-62, 65 Public Toilets, 61-62,62 Hand or touch of the artist, 1,3, 7,12,16,26, 31,34,49, 62, 73-76, 83,120-122,129, 147,184, 243, 256. See also Signature and mark or trace of the body, 7-8,137-143, 158,224, 236,243-258 withdrawal of under minimalism, 3, 23- 26 Hannema, Dirk, 179,182 Harvey, James, 80-81 Hatoum, Mona, 252-256 Corps étranger, 254-256,255 Heizer, Michael, 233 Hendricks, Jon, 167 Herron, Hank, 34 Hesse, Eva, 25,31,134,145, 247 Expanded Expansion, 134,136 Sans II, 31,32 Heterogeneity in contemporary art, 8,16,114 as a function of authorship, 8-n, 65,90, 129,166, 243 as a function of the reproduction, 74,117, 24З History painting, 11 o, 115-120,158. See also Genre categories Hodges, Jim, 152 Not Here, 152,153 Hoepker, Thomas, 94 Holbein, Hans, the Younger, 125,127 Holmes, Oliver Wendell, 94 Hobbs, Robert, 234 Hopps, Walter, 80 Houdon, Jean-Antoine, 171,173 Huebler, Douglas, 229 Identity, 63,115,150,155 Impermanence or ephemerality, 8,12,14-16, 113,149,152,154,165,205,215,219,223- 225,234-235, 238-239, 241, 243 and contingency of object or experience, 15-16,21-24, D4 234 Index, 101,120,125 INDEX 3OO • 3 0 1 "Information" (Museum of Modern Art), 167, 173,229,232, 233 Installation, 2,8,14,35-37,41-43,48, 53, 84, 129,137,152-154,163-165,171-173.175. 178-182,193-195,198,215,220, 225, 228, 238-239, 243, 251-252,254-258 Instructions. See Plans and instructions Integrity rights. See Moral or integrity rights Jackson, Elizabeth, 221 Jameson, Fredric, 90 Janis, Sidney, 70 Johns, Jasper, 66-68,76, 83,105 Painted Bronze, 66-68, 67 Johnson, Poppy, 167 Johnson, Ray, 83 Jones, Amelia, 223 Jones, Caroline, 33,233-235 Judd, Donald, 1-3,5-6,23,25, 33,36-43,51, 152 Art in America advertisement, 1-2, l, 36 Untitled, 39,40 Untitled (galvanized iron wall), 2-3, 5, 37, 41.51 Untitled (straight single tube), 38,39,40 Kaprow, Allan, 132,219-220 Karp, Ivan, 86-87 Keller, Horst, 169 Kimmelman, Michael, 178 Kitsch, 79, 91, ii8,127 Klein, Yves, 101 Kolbowski, Silvia, 200-203 An example of recent work, 200-203,201— 202 Koons, Jeff, 91-94,182 "Banality Show" 91-93,182 String of Puppies, 91-93,92 Kosuth, Joseph, 229 Krauss, Rosalind, 23,73,151-152 Kruger, Barbara, 94 Kwon, Miwon, 236 Laib, Wolfgang, 109, m Milkstone, 108,109 Lajer-Burcharth, Ewa, 140 Landscape, 95, 97, no, 117,229, 234, 238. See also Earthworks; Genre categories Lard, 7-10,137,139,140,142 Latow, Muriel, 76 Lawler, Louise, 175,178-179,182, 205 Untitled (Koons), 182,183 Lebel, Robert, 68 Leonard, Zoe, 143,145,147,191 Preserved Head of a Bearded Woman, 191, 192 Strange Fruit (for David), 143,145,146, 147 Leonardo da Vinci, 102 Mona Lisa, 78,102 Levine, Sherrie, 61, 63-68, 71, 84, 95,101-102, 105,182-183 Fountain (After Marcel Duchamp), 60, 6i, 63-67,105 Meltdown, 101-102,103 Untitled (After Edward Weston), 95, 96 LeWitt, Sol, 39-40,45-46,48, 52,198,215, 217 certificate and diagrams for Wall Drawing no. 146,51 Wall Drawing no. 146,50 Licht, Ira, 223 Lichtenstein, Roy, 123 Limited editions. See Editions Lippard, Lucy, 221,225 Lisson Gallery, 37,41, 53 Longsdail, Nicholas, 53 Luna, James, 191,194,195, 205 Artifact Piece, 191,193,194 Malraux, André, 71-72, 74 Manet, Edouard, 11 o, 118,168-169,175 Mass production, 14, 64, 66-68, 70-71, 76, 91,94,105 Materiality, 8,10,12,14-15,21,23-24, 25-26, 38-43, 6i, 64, 66-67,72 105, "3 129, 132-151,158,186-187, 238. See also Medium material evidence of authenticity, 5,34 organic materials, 7-8,109, m, 140,143, 147,166 (see also Chocolate; Lard; Soap) and photographic information, 72, 97,117, 127, 223-224 and process, 7,12, 23,132-143,229, 246- 247. 249 and scrap metal, 27,30,49,51 separation of idea and material expression, 23,26-27,30,35,48,56,65 and shifts between materials, 38-39,42, 61, 79. 95 97.101,117,125 truth to materials, 7-8,142-143,147,151 unstable materials, 14-15,134,139,142- 149,241 (see also Decay or deterioration) Mayer, Bernadette, 217 Mayer, Rosemary, 220 McCollum, Allan, 98,183-184 Perpetual Photos, 98, loo, 184 Plaster Surrogates, 183-184 McShine, Kynaston, 173, 229 Medium, 12,14,77, 86,88, 95,101,110-114, 116-117,120-123,125,127,129,132,133, 136,143,151-152,158,163, 224-225,235, 243. See also Materiality as a series of separable conventions, 12,14, 95,112-113,12b 123,151,158 Mendieta, Ana, 140, 235-238 Anima, 236-237, 237 Messer, Thomas, 166 Minimal art, 3, 6, n, 15,23-45, 56 79. 97, m, 133,134,139- 218, 243-244,246-247 and activation of space, 3-4,15,23-27,30, 36 as a basis for subsequent practices, 7,12, 31, !37 139,149,154-155,254 and conceptual art, 6,23,26-27,34-36,38- 42,53,56,154 and industrial fabrication, 3, 23-24,36 and temporal gap between plan and realization, 6,14,33,35-36 and withdrawal of artist's hand, 3,23-26 Modernism, 11-12,14, 65-66,109-111,120, 168-169 Mona Lisa. See Leonardo da Vinci Monk, Meredith, 246 Montano, Linda, 236 Monte, James, 133 Moore, Charles, 87, 94 Moral or integrity rights, 15,48-49, 90 Morris, Robert, 1, 5-6,23, 24,38, 53,132,134, 220 Litanies, 1-2,4 "Nine at Leo Castelli" (warehouse show), 132,133 Statement of Esthetic Withdrawal, x, 1-2,53 Multiples, 31,35, 65, 73-74,77, 80, 83,86,155, 179. See also Editions; Reproduction "The Museum as Muse" (Museum of Modern Art), 173-175 Museum ofModern Art (MoMA), 10-11, 51, 102,109-111,114,167,173-174, 229, 233. See also "Information"; "The Museum as Muse"; "Objects of Desire" Museums artists invited to create works specifically for, 133,166,168,171,173-175,178,195 art museum classification systems, 8,10-11, 72,74,105,127,171,186 and collection types, 8-10,163,166-167, 184,186-187,191,193,195 and recontextualization, 10, 63, 66, 68, 80, 165,175,178,186,191 INDEX 3 0 2 • 3 0 3 Museums (cont.) reproductions as an alternate form of, 68, 71-72,127,173 subject to analysis by artists, 51,163,165- 184,186-187,190-195 National Endowment for the Arts (NEA), 88 Nauman, Bruce, 34-36,43,45,134,224,243- 246 Neon Templates of the Left Half of My Body Taken at Ten-Inch Intervals, 244,245 Performance Corridor, 134, 246,248 Walk with Contrapposto, 246, 247 Yellow Room (Triangular), 43,45,46 Nauman, Judy, 246 Naumann, Francis, 70 Nemser, Cindy, 221 "Objects of Desire" (Museum of Modern Art), 109-111,114,115 O'Dell, Kathy, 223-224 Oldenburg, Claes, 83-84,173 "Op losse schroeven" (Stedelijk Museum, Amsterdam), 133,228 Oppenheim, Dennis, 233 Ordover, Jerald, 53,228 Originals, 3,12,31,35,37, 64-68,70-73, 80, 83,88, 94-95, 98,101, юг, 105,171,173, 179,182,200 and copies, 12,31, 64-66,70-73,77,86-95, 102,105,171,200 as a function of external limits or evidence, 4-5. ЗО, 35. 37,73 and industrial fabrication, 3,14,30-31,45, 64, 68 Orozco, Gabriel, 239-243 Island within an Island, 241,242 Yielding Stone, 239-241,240,243 Owens, Craig, 26,233 Painting, 25,31, 33,42, 65,72,77,109-132, 136,149-150,158,168-169,184, 228 and photography, 14, 74,77,80-88, loi- 102,111-112,114-115,117-127,136,158, 179 Panza, Giuseppe, 1-3, 34-48, 51, 53, 56,228 Várese installations, 2, 5, 36,40-41,48, 50, 54 Parker, Cornelia, 187,190-191, 238-239 Drowned Monuments, 238-239,239 Shared Fate, 190-191,190 Performance, 8,11-12,14-15,114-115,134, 137,139-4°, 149,183-184,193-195, 205, 213-225,236, 238,243,246,249,251- 252,254,256 and documentation, 12,14-15,114-115,193, 215-217, 219, 221-225, 236,243, 249, 251-252 or repeated actions as process, 7-8,12,133, 137,139,142-143 site-specific and ephemeral actions, 15,113, 133,167, 205,213-225,228,236-239, 244, 246-249,258 Permanence, 12,30,41,49,109,137,149,152, 238, 241,243, 251. See also Impermanence or ephemerality Perreault, John, 235 Photography, 70-72, 95, 97,112,114-118, 120-123,125-129,136,145,151-152,223, 246, 247,249-254 as documentation, 8,35,42-43, 70, 72-74, 114-115,134,193, 218-225, 233-239, 252 and heterogeneity, 8, 74,151-152,243 and mediation, 65-66, 74, 95, 98, ют, 200 and painting, 14,74,77, 80-88,101-102, m-112,114-115,117-127,136,158,179 and play between document and work, 74, 175,179,182,186,190-191,198, 225- 228,233-252 Piper, Adrian, 115,213-215,217-221, 225 Catalysis series, 212,213-215,214,217-221, 225 Plans and instructions, 3, 6,15-16, 24, 26-27, 33-37.40.42,45-46,48,56,134,152, 154_155.167,175,198,205,215,217,220- 221,226, 228,238, 244. See also Diagrams; Documentation; Fabrication Pollock, Jackson, 132,179,182 Pop art, 11-12, 26, 67,73,76, lio-iii Portraiture, 102, no, 115-118,122-123,125, 127-129,137,140,155,158,165,175,223, 244,249. See also Genre categories Postmodernism, 11-12, 66, 88, 90, 95,110, 114,117,123,233,235 Post-studio art, 14-15,133,155. See also Fabrication Preservation and conservation, 5, 8,10,12,14- 15,24-25,140,143-149,171-173.186— 187 Process. See Materiality Projansky, Robert, 53 Provenance, 4, 34,168-169 Quotation and reference, 14, 65, 78,88, 90, 105,110-114,120,123,129,136,139,142- 143,182-184 Rauschenberg, Robert, 33, 74,83, 88,132, 223 Short Circuit, 83,84 Tracer, 75 Ray, Charles, 111,203 Readymades, 2,3, 6,10,12,15, 26, 64-72, 78, 80, 94-95,102,105,110—112,117,129, 147,158,171, 200,203, 205,226, 243. See also Duchamp; Remaking and reconstructions Recontextualization, 10, 68,79, 88, 90-91,105 and authorship, 15, 63, 80,83-84,86,182- 183 and the museum, 10, 72,171,191 and the readymade, 10,15, 95, 200 Reference and quotation, 14, 65, 78, 88, 90, 105,110-114,120,123,129,136,139,142- 143,182-184 Relics and artifacts, 43,142,187-193, 236-237, 249 Remaking and reconstructions, 10,14,30-31, 35-38,42-45, 53, 83-84,102,113,142, 149.151-152,154,205,234,244. See also Casts; Copies remade readymades, 61, 63-64, 67-71,77- 79.105 Representation, 12, 23, 70,77,127,132,134, 140,143,145,147,149,151,173,184,219, 223,236, 243, 247, 256. See also Documentation achieved through copies, 70,77, 91, loi, 117-118,120-123,125.14°. 200 play between representation and abstraction, 12, 61,117,120,149, 249 Reproduction, 3,4,12,14,16,42, 65-66, 68, 71-74, 79, 88, 91, 94,101-102,122,183 external limits on inherent reproducibility, 3,4,12,31,64-65,73 mechanical reproduction, 12,14,31,66,74, 77, 79, 88, 95,101,105,120,122 Richter, Gerhard, 111,114,117-120,158 October 18,1977,118-120,119,158 Two Candles, ill, 112 Rodenbeck, Judith, 220 Rodin, Auguste, 73,179 Rogers, Art, 91-94 Rollins, Tim, 154 Rosenberg, Harold, 132 Rosier, Martha, 220 Roth, Dieter, 140 Rowell, Margit, 109 Ruscha, Ed, 226,228 Every Building on the Sunset Strip, 226, 230-231 INDEX 3 O 4 • 3O5 Sandler, Irving, 81 Scheidemann, Christian, 145 Schneemann, Carolee, 219, 224 Schütz, Sabine, 117 Schwarz, Arturo, 70-71, 78 Sculpture, 8, 23-24,27,33,49, 61, 97,112, 132-134,139-140,158,173,179, 203, 241, 244-249, 252 and photography, 235-236, 238-239,241, 246, 249, 252,254 Serial forms, 3, 23,25-26, 74, 77, 79, 97,155, 247. See also Minimal art Serra, Richard, 21-24,48-49,51,133-134 Casting, 133,134 Splashing, 133,135 Tilted Arc, 48-49, 51,52 Torqued Ellipses, 21-24,22 "Verb List" 133 Sharp, Willoughby, 229, 244 Sherman, Cindy, m, 114-117 Untitled Film Stills, 114-115 Untitled #172, m, 113,115-116 Untitled #228,115, пб Siegelaub, Seth, 53,229,233 Signature, 53,73-74, 78. See also Hand or touch of the artist Silvianna, 167 Site specificity, 14,36,41,43,48-49,51, 53, 132-133,171,173-175,178, 187,198, 243 and documentation, 14-15,198,224-225, 229, 233-238,243 "Skulptur" (Münster), 203,205, 241 Smith, Patrick, 8i Smithson, Robert, 233-235,237 Spiral Jetty, 233-234 Soap, 137,140,142,158 "Software" (Jewish Museum), 215,218 Sonnabend, Ileana, gallery, 77,81-82,182, 215, 218 Stable Gallery, 76,80 Stella, Frank, 31-34,83,122 Marquis de Portago, 31-34,33 Stieglitz, Alfred, 64 Still life, 109-111,114-115,117,143,149-150, 169,178,182. See also Genre categories vanitas, 111,149 Storr, Robert, 122 "Street Works" (Architectural League of New York), 217 Sturtevant, 82-84,86-87 Warhol Flowers, 82,82, 84 Sugimoto, Hiroshi, 123,125-127 The Music Lesson, 125,126 Portraits, 125,127,128 Swenson, G. R., 82 Theatricality, 23,26,139, 244, 246. See also Minimal art Toche, Jean, 167 Toselli Gallery, 53 Trace. See Body Trademarks and brand names, 64, 67,77-78, 94.137.139 Tucker, Marcia, 133 Varnedoe, Kirk, 174 Vassilakis, Takis, 51 Vermeer, Jan, 125 Video, 8,133-134,149-150,215, 220, 223-225, 235,241,243,246,251,254 Visual Artists Rights Act, 49 Wall, Jeff, 120 Wallach, Alan, 72 Ward, Eleanor, 76 Ward, Fred, 87 Warhol, Andy, 74,76-89, 91, 94,102,105, 118,120,123,178-179 Brillo boxes, 78-81,79 Flowers series, 77, 81-82, 81, 84-87, 94 Jackie series, 87-88 Race Riot seríes, 87,89,120 "Raid the Icebox 1" (Rhode Island School of Design), 178 Weil, Susan, 83 Weiner, Lawrence, 53,149, 228-229 Welling, James, 95, 97 Untitled 2-29I-80, 95, 97, 98 Weston, Edward, 65, 95 "When Attitudes Become Form: Works— Concepts—Processes—Situations— Information: Live in Your Head" (Kunsthalle, Bern), 133,136, 244 Whiteread, Rachel, 95, 97 Untitled (One Hundred Spaces), 97,99 Whitney Museum of American Art, 27,30, 49, 94,132-134,168. See also "Anti- Illusion: Procedures, Materials" Wildmon, Donald, 88, 90 Wilke, Hannah, 140,247,249 S. O. S. Starification Object Series, 249, 250 Wilson, Fred, 163-165,178,195 Mining the Museum, 162,163-165,164 Winsor, Jackie, 53 Wodiczko, Krzysztof, 195,198 Hirshhorn Museum projection, 195,197, 198 Wojnarowicz, David, 88, 90,145 Women Artists in Revolution (WAR), 167 0-9 (magazine), 217 INDEX 3 0 6 • 3 0 7 |
