Term
| 30-1RICHARD HAMILTON, Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956. Collage, 10¼″ × 9¾″.Kunsthalle Tübingen, Tübingen |
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Definition
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Term
| 30-2ALBERTO GIACOMETTI, Man Pointing No. 5, 1947. Bronze, 5′ 10″ high. Des Moines Art Center, Des Moines (Nathan Emory Coffin Collection) |
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Term
| 30-3FRANCIS BACON, Painting, 1946. Oil and pastel on linen, 6′ 5⅞″ × 4′ 4″. Museum of Modern Art, New York |
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Definition
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Term
| 30-3ABACON, Figure with Meat, 1954 |
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Definition
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Term
| 30-4JEAN DUBUFFET, Vie Inquiete, 1953. Oil on Canvas, 4′ 3″ × 6′ 4″. Tate Modern, London (gift of the artist, 1966) |
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Definition
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Term
| 30-6JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7′3′ × 9′ 10″. National Gallery of Art, Washington, D.C. (Ailsa Mellon Bruce Fund) |
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Definition
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Term
| 30-5ARSHILE GORKY, Garden in Sochi, ca. 1943. Oil on Canvas, 2′ 7″ × 3′ 3″. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest) |
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Definition
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Term
| 30-7HANS NAMUTH, Jackson Pollock painting in his studio in Springs, Long Island, New York, 1950. Gelatin silver print, 10″ × 8″. Center for Creative Photography, University of Arizona, Tucson |
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Definition
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Term
| 30-8WILLEM DE KOONING, Woman I, 1950–1952. Oil on Canvas, 6′ 3⅞ × 4′ 10″. Museum of Modern Art, New York |
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Definition
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Term
| 30-8CMITCHELL, Untitled, ca. 1953–1954 |
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Definition
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Term
| 30-9BARNETT NEWMAN, Vir Heroicus Sublimis, 1950–1951. Oil on Canvas, 7′ 1⅜″ × 17′ 9¼″. Museum of Modern Art, New York (gift of Mr. and Mrs. Ben Heller) |
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Definition
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Term
| 30-10MARK ROTHKO, No. 14, 1960. Oil on Canvas, 9′ 6″ × 8′ 9″. San Francisco Museum of Modern Art, San Francisco (Helen Crocker Russell Fund Purchase) |
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Definition
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Term
| 30-11ELLSWORTH KELLY, Red Blue Green, 1963. Oil on Canvas, 6′ 11⅝″ × 11′ 3⅞″. Museum of Contemporary Art, San Diego (Gift of Dr. and Mrs. Jack M. Farris) |
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Definition
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Term
| 30-12FRANK STELLA, Mas o Menos, 1964. Metallic powder in acrylic emulsion on canvas, 9′ 10″ × 13′ 8½. Musáe National d’Art Moderne, Centre Georges Pompidou, Paris (purchase 1983 with participation of Scaler Foundation) |
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Definition
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Term
| 30-13HELEN FRANKENTHALER, The Bay, 1963. Acrylic on Canvas, 6′ 8⅞″ × 6′ 9⅞″ Detroit Institute of Arts, Detroit |
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Definition
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Term
| 30-14MORRIS LOUIS, Saraband, 1959. Acrylic resin on canvas, 8′ 5⅛″ × 12′ 5″. Solomon R. Guggenheim Foundation, New York |
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Definition
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Term
| 30-15BRIDGET RILEY, Fission, 1963. Tempera on composition board, 2′ 11″ × 2′ 10″. Museum of Modern Art, New York (gift of Philip Johnson) |
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Definition
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Term
| 30-16DAVID SMITH, Cubi XII, 1963. Stainless steel, 9′ 1⅝″ High. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. ( |
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Definition
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Term
| 30-17TONY SMITH, Die, 1962. Steel, 6′ × 6′ × 6′. Museum of Modern Art, New York |
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Definition
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Term
| 30-18DONALD JUDD, Untitled, 1969. Brass and Colored Fluorescent Plexiglas on Steel Brackets, 10 units, 6⅛″ × 2′ × 2′ 3″ each, with 6″ Intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. |
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Definition
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Term
| 30-19LOUISE NEVELSON, Tropical Garden II, 1957–1959. Wood painted black, 5′ 11½″ × 10′ 11¾″ × 1′. Musee National d’Art Moderne, Centre Georges Pompidou, Paris |
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Definition
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Term
| 30-20LOUISE BOURGEOIS, Cumul I, 1969. Marble, 1′ 10⅜″ × 4′ 2″ × 4′. Musée National d’Art Moderne, Centre Georges Pompidou, Paris. © Louise Bourgeois/Licensed by VAGA, New York |
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Definition
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Term
| 30-21EVA HESSE, Hang-Up, 1965–1966. Acrylic on cloth over wood and steel, 6′ × 7′ × 6′ 6″. Art Institute of Chicago, Chicago |
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Definition
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Term
| 30-22JASPER JOHNS, Three Flags, 1958. Encaustic on canvas, 2′ 6⅞″ × 3′ 9½″. Whitney Museum of American Art, New York |
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Definition
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Term
| 30-23ROBERT 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′ 9¾′ × 5′ 10″ × 2′. Sonnabend Collection, New York. © Robert Rauschenberg/Licensed by VAGA, New York |
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Definition
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Term
| 30-24Roy LICHTENSTEIN, Hopeless, 1963. Oil and Synthetic Polymer Paint on Canvas, 3′ 8″ × 3′ 8″. Kunstmuseum Basel, Basel. © Estate of Roy Lichtenstein |
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Definition
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Term
| 30-25ANDY WARHOL, Green Coca-Cola Bottles, 1962. Oil on Canvas, 6′ 10½″ × 4′ 9″. Whitney Museum of American Art, New York |
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Definition
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Term
| 30-25AWARHOL, Marilyn Diptych, 1962 |
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Definition
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Term
| 30-26CLAES OLDENBURG, Lipstick (Ascending) on Caterpillar Tracks, 1969; reworked, 1974. Painted steel, aluminum, and fiberglass, 21’ high. Morse College, Yale University, New Haven (gift of Colossal Keepsake Corporation) |
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Definition
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Term
| 30-27AUDREY FLACK, Marilyn, 1977. Oil over Acrylic on Canvas, 8′ × 8′. University of Arizona Museum, Tucson (museum purchase with funds provided by the Edward J. Gallagher Jr. Memorial Fund) |
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Definition
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Term
| 30-28CHUCK CLOSE, Big Self-Portrait, 1967–1968. Acrylic on Canvas, 8′ 11″ × 6′ 11″. Walker Art Center, Minneapolis (Art Center Acquisition Fund, 1969) |
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Definition
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Term
| 30-29LUCIAN FREUD, Naked Portrait, 1972–1973. Oil on Canvas, 2′ × 2′. Tate Modern, London |
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Definition
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Term
| 30-30DUANE 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. © Estate of Duane Hanson/Licensed by VAGA, New York |
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Definition
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Term
| 30-32MINOR WHITE, Moencopi Strata, Capitol Reef, Utah, 1962. Gelatin silver print, 1′ ⅛″ × 9¼″. Museum of Modern Art, New York. © The Minor White Archive, Princeton University |
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Definition
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Term
| 30-33JUDY CHICAGO, The Dinner Party, 1979. Multimedia, including Ceramics and Stitchery, 48′ long on each side. The Brooklyn Museum, Brooklyn |
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Definition
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Term
| 30-34MIRIAM SCHAPIRO, Anatomy of a Kimono (detail of a 10-panel composition), 1976. Fabric and acrylic on canvas, entire work 6′ 8″ × 52′ 2½″. Collection of Bruno Bischofb erger, Zurich |
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Definition
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Term
| 30-35CINDY SHERMAN, Untitled Film Still #35, 1979. Gelatin silverprint, 10″ × 8″. Private collection |
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Definition
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Term
| 30-36ANA MENDIETA, Flowers on Body, 1973. Color photograph of earth/body work with flowers, executed at El Yagul, Mexico. Courtesy of the Estate of Ana Mendieta and Galerie Lelong, New York |
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Definition
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Term
| 30-37HANNAH WILKE, S.O.S. Starification Object Series, 1974–1982. 10 black and white photographs and 16 chewing gum sculptures mounted on Ragboard, 3′ 5″ × 4′ 10″ framed. © Marsie, Emanuelle, Damon, and Andrew Scharlatt/Licensed by VAGA, New York, NY. Courtesy Ronald Feldman Fine Arts, New York |
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Definition
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Term
| 30-38MAGDALENA ABAKANOWICZ, 80 Backs, 1976–1980. Burlap and resin, each figure 2′ 3″ high. Museum of Modern Art, Dallas |
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Definition
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Term
| 30-39FRANK LLOYD WRIGHT, Solomon R. Guggenheim Museum (looking southeast), New York, 1943–1959. |
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Definition
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Term
| 30-40LE CORBUSIER, Notre-Dame-du-Haut, Ronchamp, France, 1950–1955.Top: exterior looking northwest; bottom: interior looking southwest. |
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Definition
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Term
| 30-41EERO SAARINEN, Terminal 5 (Jet Blue Airways terminal, formerly the Trans World Airlines terminal; looking southeast), John F. Kennedy International Airport, New York, 1956–1962 |
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Definition
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Term
| 30-42JOERN UTZON, Sydney Opera House (looking southeast), Sydney, Australia, 1959–1972 |
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Definition
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Term
| 30-43LUDWIG MIES VAN DER ROHE and PHILIP JOHNSON, Seagram Building (looking northeast), New York, 1956–1958. |
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Definition
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Term
| 30-44SKIDMORE, OWINGS & Merrill, Willis Tower (formerly Sears Tower; looking east), Chicago, 1974 |
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Definition
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Term
| 30-45CHARLES MOORE, Piazza d’Italia (looking northeast), New Orleans, 1976–1980 |
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Definition
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Term
| 30-46PHILIP JOHNSON and JOHN BURGEE (with SIMMONS ARCHITECTS), Sony Building (formerly AT&T Building; looking southwest), New York, 1978–1984 |
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Definition
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Term
| 30-47MICHAEL GRAVES, Portland Building (looking northwest), Portland, 1980 |
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Definition
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Term
| 30-48ROBERT VENTURI, Vanna Venturi House, Chestnut Hill, Pennsylvania, 1962 |
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Definition
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Term
| 30-49RICHARD ROGERS and RENZO PIANO, Centre Georges Pompidou (the “Beaubourg,” looking northeast), Paris, France, 1977 |
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Definition
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Term
| 30-50ROBERT SMITHSON, Spiral Jetty (looking east), Great Salt Lake, Utah, 1970. © Estate of Robert Smithson/Licensed by VAGA, New York |
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Definition
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Term
| 30-51CAROLEE SCHNEEMANN, Meat Joy (performance at Judson Church, New York City), 1964 |
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Definition
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Term
| 30-52JOSEPH BEUYS, How to Explain Pictures to a Dead Hare (performance at Schmela Gallery, Düsseldorf), 1965 |
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Definition
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Term
| 30-53JEAN TINGUELY, Homage to New York, 1960, just prior to its selfdestruction in the garden of the Museum of Modern Art, New York |
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Definition
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Term
| 30-54JOSEPH 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′ 8⅜″ × 1′ 2⅞″ × 1′ 8⅞″; photograph, 3′ × 2′ ⅛″; text panel, 2′ × 2′ ⅛″. Museum of Modern Art, New York (Larry Aldrich Foundation Fund) |
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Definition
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Term
| 30-55BRUCE NAUMAN, The True Artist Helps the World by Revealing Mystic Truths, 1967. Neon with glass tubing suspension frame, 4′ 11″ high. Private collection |
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Definition
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Term
| 30-56NAM JUNE PAIK, Video still from Global Groove, 1973. ¾″ video -tape, Color, Sound, 30 minutes. Collection of the Artist. |
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Definition
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Term
| 30-57DAVID EM, Nora, 1979. Computer-generated color photograph, 1′ 5″ × 1′ 11″. Private collection |
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Definition
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Term
31-39RICHARD SERRA, Tilted Arc, Jacob K. Javits Federal Plaza, New York City, 1981
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Definition
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Term
31-40CHRISTO and JEANNE-CLAUDE, Surrounded Islands, Biscayne Bay, Miami, Florida, 1980–1983
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Definition
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Term
31-41ANDY GOLDSWORTHY, Cracked Rock Spiral, St. Abbs, Scotland, 1985
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