Late 20th century

FRANCIS BACON, Painting, 1946. Oil and pastel on linen, 6’ 5 7/8” x 4’ 4”. Museum of Modern Art, New York (purchase).

Francis Bacon, Head Surrounded by Sides of Beef, 1954, oil on canvas, The Art Institute of Chicago. Right: Velasquez, Portrait of Pope Innocent X, 1650.

Jean Dubuffet, Cow with the Subtile Nose, 1954, oil on enamel on canvas, The Museum of Modern Art.

ALBERTO GIACOMETTI, Man Pointing, 1947. Bronze no. 5 of 6, 5’ 10” x 3’ 1’ 5 5/8”. Nathan Emory Coffin Collection of the Des Moines Art Center, Des Moines.

Abstract Expressionism

Arshile Gorky, Garden in Sochi, c. 1943, oil on canvas, The Museum of Modern Art.

JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7’ 3” x 9’ 10”. National Gallery of Art, Washington (Ailsa Mellon Bruce Fund).

Lee Krasner, The Seasons, 1957, oil on canvas, Whitney Museum of American Art.

WILLEM DE KOONING, Woman I, 1950–1952. Oil on canvas, 6’ 3 7/8” x 4’ 10”. Museum of Modern Art, New York (purchase).

BARNETT NEWMAN, Vir Heroicus Sublimis, 1950–1951. Oil on canvas, 7’ 11 3/8” x 17’ 9 1/4”. Museum of Modern Art, New York (gift of Mr. and Mrs. Ben Heller). The title means Man, Heroic and Sublime.

MARK ROTHKO, No. 14, 1961 Oil on canvas, 9’ 6” x 8’ 9”. San Francisco Museum of Modern Art, Helen Crocker Russell Fund Purchase.

David Smith, Hudson River Landscape, 1951, welded steel, 49 x 73 x 16 in. Whitney Museum of American Art.

David Smith, Cubi XIX, 1964. Stainless steel.

LOUISE NEVELSON, Tropical Garden II, 1957–1959. Wood painted black, 5’ 11 1/2” x 10’ 11 3/4” x 1’. Musée National d’Art Moderne, Centre Georges Pompidou, Paris.

HELEN FRANKENTHALER, Bay Side, 1967. Acrylic on canvas, 6’ 2” x 6’ 9”. Private Collection, New York. Frankenthaler is considered a second generation Abstract Expressionist.

ROBERT RAUSCHENBERG, Canyon, 1959. Oil, pencil, paper, fabric, metal, cardboard box, printed paper, printed reproductions, photograph, wood, paint tube, and mirror on canvas, with oil on bald eagle, string, and pillow, 6’ 9 3/4” x 5’ 10” x 2’. Sonnabend Collection. Copyright © Untitled Press, Inc./Licensed by VAGA, New York.

ELLSWORTH KELLY, Red Blue Green, 1963. Oil on canvas, 6’ 11 5/8” x 11’ 3 7/8”. Collection Museum of Contemporary Art, San Diego (gift of Dr. and Mrs. Jack M. Farris).

FRANK STELLA, Nunca Pasa Nada, 1964. Metallic powder in polymer emulsion on canvas, 9’ 2” x 18’ 4 1/2”. Collection of Lannan Foundation.

MORRIS LOUIS, Saraband, 1959. Acrylic resin on canvas, 8’ 5 1/8” x 12’ 5”. Solomon R. Guggenheim Museum, New York.

Bridget Riley, Movement in Squares, 1962, Tempera, Arts Council of Great Britain, London.

Bridget Riley, detail of Current, 1964, 58" x 58", Museum of Modern Art, NY

TONY SMITH, Die, 1962. Steel, 6’ x 6’ x 6’. Museum of Modern Art, New York (gift of Jane Smith in honor of Agnes Gund).

DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington (gift of Joseph H. Hirshhorn, 1972). Art copyright © Donald Judd Estate/Licensed by VAGA, New York, NY.

RICHARD HAMILTON, Just What Is It That Makes Today’s Homes So Different, So Appealing?, 1956. Collage, 10 1/4” x 9 3/4”. Kunsthalle Tübingen, Tübingen, Germany.

JASPER JOHNS, Flag, 1954–1955, dated on reverse 1954. Encaustic, oil, and collage on fabric mounted on plywood, 3’ 6 1/4” x 5’ 5/8”. Museum of Modern Art, New York (gift of Philip Johnson in honor of Alfred H. Barr, Jr.). Copyright © Jasper Johns/Licensed by VAGA, New York, NY.

ROY LICHTENSTEIN, Hopeless, 1963. Oil on canvas, 3’ 8” x 3’ 8”. Kunstmuseum, Basel (permanent loan from the Ludwig Foundation Collection).

ANDY WARHOL, Green Coca-Cola Bottles, 1962. Oil on canvas, 6’ 10 1/2” x 4’ 9”. Collection of Whitney Museum of American Art, New York (purchase, with funds from the Friends of the Whitney Museum of American Art).

ANDY WARHOL, Marilyn Diptych, 1962. Oil, acrylic, and silk-screen enamel on canvas. Tate Gallery, London.

CLAES OLDENBURG, photo of one-person show at the Green Gallery, New York, 1962.

Claes Oldenburg, Spoonbridge and Cherry, 1988 Stainless steel and aluminum painted with polyurethane enamel 29 ft. 6 in. x 51 ft. 6 in. x 13 ft. 6 in. (9 x 15.7 x 4.1 m) Minneapolis Sculpture Garden, Walker Art Center, Minneapolis Photo courtesy of Walker Art Center

AUDREY FLACK, Marilyn, 1977. Oil over acrylic on canvas, 8’ x 8’. Collection of the University of Arizona Museum, Tucson (museum purchase with funds provided by the Edward J. Gallagher, Jr. Memorial Fund).

DUANE HANSON, Supermarket Shopper, 1970. Polyester resin and fiberglass polychromed in oil, with clothing, steel cart, and groceries, life-size. Nachfolgeinstitut, Neue Galerie, Sammlung Ludwig, Aachen.

CHUCK CLOSE, Big Self-Portrait, 1967–1968. Acrylic on canvas, 8’ 11” x 6’ 11” x 2”. Collection Walker Art Center, Minneapolis (Art Center Acquisition Fund, 1969).

CAROLEE SCHNEEMAN, Meat Joy, 1964. Photograph of performance at Judson Church, New York.

JEAN TINGUELY, Homage to New York, 1960, just prior to its self-destruction in the garden of the Museum of Modern Art, New York.

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; chair, 2’ 8 3/8” x 1’ 2 7/8” x 1’ 8 7/8”; photo panel, 3’ x 2’ 1/8”; text panel, 2’ 2’ 1/8”. Museum of Modern Art, New York

BRUCE NAUMAN, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967. Neon with glass tubing suspension frame, 4’ 11” x 4’ 7” x 2”. Private collection.

ROBERT SMITHSON, Spiral Jetty, 1970. Black rock, salt crystals, earth, red water (algae) at Great Salt Lake, Utah. 1,500’ x 15’ x 3 1/2’. Estate of Robert Smithson; courtesy James Cohan Gallery, New York; collection of DIA Center for the Arts, New York.

RICHARD SERRA, Tilted Arc, 1981. Cor-Ten steel, 12’ x 120’ x 2 1/2”. Installed Federal Plaza, New York City by the General Services Administration, Washington D.C. Removed by the U.S. Government 1989.

MAYA YING LIN, Vietnam Veterans Memorial, Washington, D.C., 1981–1983. Black granite, each wing 246’ long.

EERO SAARINEN, Trans World Airlines terminal, KeCnnedy Airport, New York, 1956–1962.

JOERN UTZON, Sydney Opera House, Sydney, Australia, 1959–1972. Reinforced concrete; height of highest shell, 200’.

ROBERT VENTURI, JOHN RAUCH and DENISE SCOTT BROWN, house in Delaware (west elevation), 1978–1983.

PHILIP JOHNSON and JOHN BURGEE with Simmons Architects, associated architects, a model of the AT&T Building, New York, 1978–1984.

MICHAEL GRAVES, The Portland Building, Portland, Oregon, 1980.

Deconstructivist Architecture

FRANK GEHRY, Guggenheim Museum, Bilbao, Spain, 1997.

CHRIS OFILI, The Holy Virgin Mary, 1996. Paper collage, oil paint, glitter, polyester resin, map pins, elephant dung on linen, 7’ 11” x 5’ 11 5/16”. The Saatchi Collection, London.

JUDY CHICAGO, The Dinner Party, 1979. Multimedia, including ceramics and stitchery, 48’ x 48’ x 48’ installed.

CINDY SHERMAN, Untitled Film Still #35, 1979. Black-and-white photograph, 10” x 8”. Metro Pictures, New York.

BARBARA KRUGER, Untitled (Your Gaze Hits the Side of My Face), 1983. Photostat, red painted frame, 6’ 1” x 4’ 1”. Courtesy of Mary Boone Gallery, New York.

FAITH RINGGOLD, Who’s Afraid of Aunt Jemima?, 1983. Acrylic on canvas with fabric borders, quilted, 7’ 6” x 6’ 8”. Private collection.

LORNA SIMPSON, Stereo Styles, 1988. 10 black-and-white Polaroid prints and 10 engraved plastic plaques, 5’ 4” x 9’ 8” overall. Collection of Raymond J. Learsy, Sharon, Connecticut.

JENNY HOLZER, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helical tricolor LED electronic display signboard, 16” x 162’ x 6”. Solomon R. Guggenheim Museum, New York, December 1989–February 1990 (partial gift of the artist, 1989).

BILL VIOLA, The Crossing, 1996. Installation with two channels of color video projection onto screens 16’-high.

MATTHEW BARNEY, Cremaster cycle, installation at the Solomon R. Guggenheim Museum, 2003.

TONY OURSLER, Mansheshe, 1997.Ceramic, glass, video player, videocassette, CPJ-200 video projector, sound, 11” x 7” x 8” each. Courtesy the artist and Metro Pictures, New York.

HANS HAACKE, MetroMobiltan, 1985. Fiberglass construction, three banners, and photomural, 11’ 8” x 20’ x 5’. Collection Centre Georges Pompidou, Paris.

GUERRILLA GIRLS, The Advantages of Being A Woman Artist, 1988. Poster.

Felix Gonzalez--Torres, Untitled (Public Opinion), 1991. Black rod licorice candy, individually wrapped in cellophane (endless supply), ideal weight, 700 pounds, dimensions variable. Solomon R. Guggenheim Museum.

Slide #	Art of the Late 20th Century -International Avant-Garde since 1945
	European Art
Late 20th 1	FRANCIS BACON, Painting, 1946. Oil and pastel on linen, 6’ 5 7/8” x 4’ 4”. Museum of Modern Art, New York (purchase).
Late 20th 2	Francis Bacon, Head Surrounded by Sides of Beef, 1954, oil on canvas, The Art Institute of Chicago. Right: Velasquez, Portrait of Pope Innocent X, 1650.
Late 20th 3	Jean Dubuffet, Cow with the Subtile Nose, 1954, oil on enamel on canvas, The Museum of Modern Art.
Late 20th 4	ALBERTO GIACOMETTI, Man Pointing, 1947. Bronze no. 5 of 6, 5’ 10” x 3’ 1’ 5 5/8”. Nathan Emory Coffin Collection of the Des Moines Art Center, Des Moines.
	Abstract Expressionism
Late 20th 5	Arshile Gorky, Garden in Sochi, c. 1943, oil on canvas, The Museum of Modern Art.
Late 20th 6	JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7’ 3” x 9’ 10”. National Gallery of Art, Washington (Ailsa Mellon Bruce Fund).
Late 20th 7	Lee Krasner, The Seasons, 1957, oil on canvas, Whitney Museum of American Art.
Late 20th 8	WILLEM DE KOONING, Woman I, 1950–1952. Oil on canvas, 6’ 3 7/8” x 4’ 10”. Museum of Modern Art, New York (purchase).
Late 20th 9	BARNETT NEWMAN, Vir Heroicus Sublimis, 1950–1951. Oil on canvas, 7’ 11 3/8” x 17’ 9 1/4”. Museum of Modern Art, New York (gift of Mr. and Mrs. Ben Heller). The title means Man, Heroic and Sublime.
Late 20th 10	MARK ROTHKO, No. 14, 1961 Oil on canvas, 9’ 6” x 8’ 9”. San Francisco Museum of Modern Art, Helen Crocker Russell Fund Purchase.
Late 20th 11	David Smith, Hudson River Landscape, 1951, welded steel, 49 x 73 x 16 in. Whitney Museum of American Art.
Late 20th 12	David Smith, Cubi XIX, 1964. Stainless steel.
Late 20th 13	LOUISE NEVELSON, Tropical Garden II, 1957–1959. Wood painted black, 5’ 11 1/2” x 10’ 11 3/4” x 1’. Musée National d’Art Moderne, Centre Georges Pompidou, Paris.
Late 20th 14	HELEN FRANKENTHALER, Bay Side, 1967. Acrylic on canvas, 6’ 2” x 6’ 9”. Private Collection, New York. Frankenthaler is considered a second generation Abstract Expressionist.
Late 20th 15	ROBERT RAUSCHENBERG, Canyon, 1959. Oil, pencil, paper, fabric, metal, cardboard box, printed paper, printed reproductions, photograph, wood, paint tube, and mirror on canvas, with oil on bald eagle, string, and pillow, 6’ 9 3/4” x 5’ 10” x 2’. Sonnabend Collection. Copyright © Untitled Press, Inc./Licensed by VAGA, New York.
Late 20th 16	ELLSWORTH KELLY, Red Blue Green, 1963. Oil on canvas, 6’ 11 5/8” x 11’ 3 7/8”. Collection Museum of Contemporary Art, San Diego (gift of Dr. and Mrs. Jack M. Farris).
Late 20th 17	FRANK STELLA, Nunca Pasa Nada, 1964. Metallic powder in polymer emulsion on canvas, 9’ 2” x 18’ 4 1/2”. Collection of Lannan Foundation.
Late 20th 18	MORRIS LOUIS, Saraband, 1959. Acrylic resin on canvas, 8’ 5 1/8” x 12’ 5”. Solomon R. Guggenheim Museum, New York.
	Op Art
Late 20th 19	Bridget Riley, Movement in Squares, 1962, Tempera, Arts Council of Great Britain, London.
Late 20th 20	Bridget Riley, detail of Current, 1964, 58" x 58", Museum of Modern Art, NY
	Minimalism
Late 20th 21	TONY SMITH, Die, 1962. Steel, 6’ x 6’ x 6’. Museum of Modern Art, New York (gift of Jane Smith in honor of Agnes Gund).
Late 20th 22	DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington (gift of Joseph H. Hirshhorn, 1972). Art copyright © Donald Judd Estate/Licensed by VAGA, New York, NY.
	Pop Art
Late 20th 23	RICHARD HAMILTON, Just What Is It That Makes Today’s Homes So Different, So Appealing?, 1956. Collage, 10 1/4” x 9 3/4”. Kunsthalle Tübingen, Tübingen, Germany.
Late 20th 24	JASPER JOHNS, Flag, 1954–1955, dated on reverse 1954. Encaustic, oil, and collage on fabric mounted on plywood, 3’ 6 1/4” x 5’ 5/8”. Museum of Modern Art, New York (gift of Philip Johnson in honor of Alfred H. Barr, Jr.). Copyright © Jasper Johns/Licensed by VAGA, New York, NY.
Late 20th 25	ROY LICHTENSTEIN, Hopeless, 1963. Oil on canvas, 3’ 8” x 3’ 8”. Kunstmuseum, Basel (permanent loan from the Ludwig Foundation Collection).
Late 20th 26	ANDY WARHOL, Green Coca-Cola Bottles, 1962. Oil on canvas, 6’ 10 1/2” x 4’ 9”. Collection of Whitney Museum of American Art, New York (purchase, with funds from the Friends of the Whitney Museum of American Art).
Late 20th 27	ANDY WARHOL, Marilyn Diptych, 1962. Oil, acrylic, and silk-screen enamel on canvas. Tate Gallery, London.
Late 20th 28	CLAES OLDENBURG, photo of one-person show at the Green Gallery, New York, 1962.
Late 20th 29	Claes Oldenburg, Spoonbridge and Cherry, 1988 Stainless steel and aluminum painted with polyurethane enamel 29 ft. 6 in. x 51 ft. 6 in. x 13 ft. 6 in. (9 x 15.7 x 4.1 m) Minneapolis Sculpture Garden, Walker Art Center, Minneapolis Photo courtesy of Walker Art Center
	Photorealism
Late 20th 30	AUDREY FLACK, Marilyn, 1977. Oil over acrylic on canvas, 8’ x 8’. Collection of the University of Arizona Museum, Tucson (museum purchase with funds provided by the Edward J. Gallagher, Jr. Memorial Fund).
Late 20th 31	DUANE HANSON, Supermarket Shopper, 1970. Polyester resin and fiberglass polychromed in oil, with clothing, steel cart, and groceries, life-size. Nachfolgeinstitut, Neue Galerie, Sammlung Ludwig, Aachen.
Late 20th 32	CHUCK CLOSE, Big Self-Portrait, 1967–1968. Acrylic on canvas, 8’ 11” x 6’ 11” x 2”. Collection Walker Art Center, Minneapolis (Art Center Acquisition Fund, 1969).
Late 20th 33	CAROLEE SCHNEEMAN, Meat Joy, 1964. Photograph of performance at Judson Church, New York.
Late 20th 34	JEAN TINGUELY, Homage to New York, 1960, just prior to its self-destruction in the garden of the Museum of Modern Art, New York.
	Conceptual Art
Late 20th 35	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; chair, 2’ 8 3/8” x 1’ 2 7/8” x 1’ 8 7/8”; photo panel, 3’ x 2’ 1/8”; text panel, 2’ 2’ 1/8”. Museum of Modern Art, New York
Late 20th 36	BRUCE NAUMAN, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967. Neon with glass tubing suspension frame, 4’ 11” x 4’ 7” x 2”. Private collection.
	Earth Art/Public Art
Late 20th 37	ROBERT SMITHSON, Spiral Jetty, 1970. Black rock, salt crystals, earth, red water (algae) at Great Salt Lake, Utah. 1,500’ x 15’ x 3 1/2’. Estate of Robert Smithson; courtesy James Cohan Gallery, New York; collection of DIA Center for the Arts, New York.
Late 20th 38	RICHARD SERRA, Tilted Arc, 1981. Cor-Ten steel, 12’ x 120’ x 2 1/2”. Installed Federal Plaza, New York City by the General Services Administration, Washington D.C. Removed by the U.S. Government 1989.
Late 20th 39	MAYA YING LIN, Vietnam Veterans Memorial, Washington, D.C., 1981–1983. Black granite, each wing 246’ long.
	New Models for Architecture
Late 20th 40	LUDWIG MIES VAN DER ROHE and PHILIP JOHNSON, Seagram Building, New York, 1956–1958.
Late 20th 41	EERO SAARINEN, Trans World Airlines terminal, KeCnnedy Airport, New York, 1956–1962.
Late 20th 42	JOERN UTZON, Sydney Opera House, Sydney, Australia, 1959–1972. Reinforced concrete; height of highest shell, 200’.
	Postmodern Architecture
Late 20th 43	ROBERT VENTURI, JOHN RAUCH and DENISE SCOTT BROWN, house in Delaware (west elevation), 1978–1983.
Late 20th 44	PHILIP JOHNSON and JOHN BURGEE with Simmons Architects, associated architects, a model of the AT&T Building, New York, 1978–1984.
Late 20th 45	MICHAEL GRAVES, The Portland Building, Portland, Oregon, 1980.
	Deconstructivist Architecture
Late 20th 46	FRANK GEHRY, Guggenheim Museum, Bilbao, Spain, 1997.
	Postmodern Art in other Media
Late 20th 47	CHRIS OFILI, The Holy Virgin Mary, 1996. Paper collage, oil paint, glitter, polyester resin, map pins, elephant dung on linen, 7’ 11” x 5’ 11 5/16”. The Saatchi Collection, London.
Late 20th 48	JUDY CHICAGO, The Dinner Party, 1979. Multimedia, including ceramics and stitchery, 48’ x 48’ x 48’ installed.
Late 20th 49	CINDY SHERMAN, Untitled Film Still #35, 1979. Black-and-white photograph, 10” x 8”. Metro Pictures, New York.
Late 20th 50	BARBARA KRUGER, Untitled (Your Gaze Hits the Side of My Face), 1983. Photostat, red painted frame, 6’ 1” x 4’ 1”. Courtesy of Mary Boone Gallery, New York.
Late 20th 51	FAITH RINGGOLD, Who’s Afraid of Aunt Jemima?, 1983. Acrylic on canvas with fabric borders, quilted, 7’ 6” x 6’ 8”. Private collection.
Late 20th 52	LORNA SIMPSON, Stereo Styles, 1988. 10 black-and-white Polaroid prints and 10 engraved plastic plaques, 5’ 4” x 9’ 8” overall. Collection of Raymond J. Learsy, Sharon, Connecticut.
Late 20th 53	JENNY HOLZER, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helical tricolor LED electronic display signboard, 16” x 162’ x 6”. Solomon R. Guggenheim Museum, New York, December 1989–February 1990 (partial gift of the artist, 1989).
Late 20th 54	BILL VIOLA, The Crossing, 1996. Installation with two channels of color video projection onto screens 16’-high.
Late 20th 55	MATTHEW BARNEY, Cremaster cycle, installation at the Solomon R. Guggenheim Museum, 2003.
Late 20th 56	TONY OURSLER, Mansheshe, 1997.Ceramic, glass, video player, videocassette, CPJ-200 video projector, sound, 11” x 7” x 8” each. Courtesy the artist and Metro Pictures, New York.
Late 20th 57	HANS HAACKE, MetroMobiltan, 1985. Fiberglass construction, three banners, and photomural, 11’ 8” x 20’ x 5’. Collection Centre Georges Pompidou, Paris.
Late 20th 58	GUERRILLA GIRLS, The Advantages of Being A Woman Artist, 1988. Poster.
Late 20th 59	Felix Gonzalez--Torres, Untitled (Public Opinion), 1991. Black rod licorice candy, individually wrapped in cellophane (endless supply), ideal weight, 700 pounds, dimensions variable. Solomon R. Guggenheim Museum.