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Index
Andy Grundberg
Description: How Photography Became Contemporary Art: Inside an Artistic Revolution from Pop to...
How Photography Became Contemporary Art: Inside an Artistic Revolution from Pop to the Digital Age
Index
Author
Andy Grundberg
PublisherYale University Press
Copyright© 2021 by Andy Grundberg
Stable URL: https://aaeportal.com/?id=-21737
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Index
Abbott, Berenice, 10, 183
Abramović, Marina, 2, 165
Abstract Expressionism, 6, 16, 264
Acconci, Vito, 68, 71–73,72, 94, 131, 133, 160
Accumulation Cut (Oppenheim), 46, 47
Adams, Ansel, 9, 83, 108, 119, 182–83, 196
Adams, Robert, 108–9, 109, 121, 179, 182, 198–99, 262
Afterimage, 112, 114, 137, 145, 272n19
Against Interpretation (Sontag), 146
Agassiz, Louis, 246, 278n8
AIDS, 229, 231–32, 241
A.I.R. Gallery, 78
Altered Landscapes (Pfahl), 9, 195, 196
alternative processes, 98
Ambulance Disaster (Warhol), 12
American Prospects (Sternfeld), 204
Americans, The (Frank), 204
American Surfaces (Shore), 89
An Artist is Not Merely the Slavish Announcer … (Baldessari), 52
Andre, Carl, 62, 81
Androgyny (6 Men + 6 Women) (Burson), 256, 257
Annina Nosei Gallery, 174, 176, 202, 273n20
Ant Farm, 136, 137
Antin, Eleanor, 74–75, 203
Apertures (Metzker), 96
April 21, 1978 (Charlesworth), 171
Arbus, Diane, 7, 21, 104, 212, 262
Are You Rea (Heinecken), 97, 98
Arrangements of Pictures, 169, 170
Artf orum: Bechers, 62
Benglis, 76, 77
Coleman, 195
color photography, 122–23
Energism, 268n1 (chap. 6)
Hennessy, 174–75
LeWitt, 59
Masheck, 62
McEvilley, 159
Morris, 76–77, 76
Muybridge, 62
photography as art, 146, 153, 175
Postmodernism, 180
Sekula, 154
Sherman, 180
Art Institute of Chicago 2, Chicago (Struth), 238
Artists Space, 156
Four Artists, 163
Hallwalls, 160
NEA, 230–31
Pictures, 161, 191
Winer, 161
Art of the Postmodern Era (Sandler), 10, 53
“Art Wars” (Brustein), 227
At Twelve (Mann), 234
Avalanche, 31, 41, 44
Avedon, Richard, 86, 214–16, 215
Baldessari, John, 63–64
An Artist is Not Merely the Slavish Announcer …, 52
Baldessari Sings LeWitt, 135
Blasted Allegories, 63, 105, 194
CalArts, 159–60
California Photography: Remaking Make-Believe, 64
Conceptual Art, 60, 63–64
Cremation Project, 63
Embed Series: Cigar Dreams (Seeing is Believing), 105, 105
Embed Series: Rose; Orange (Death), 105
The Extended Document, 104–5
John Baldessari: Recent Paintings, 63
photography, 64–65
“Post-Studio Art,” 64, 159–60
The Real Big Picture, 202
Sonnabend, 94
Strobe Series/Futurist: Trying To Get A Straight Line With A Finger, 64, 105
Teaching a Plant the Alphabet, 135
Throwing Four Balls in the Air to Get a Square [Best of 36 Tries], 105
video, 135
Winer, 161
Wrong, 63–64
Baldwin, James, 215
Ballad of Sexual Dependency, The (Goldin), 184–86, 234, 274n11
Baltz, Lewis: art world, 65
The New Industrial Parks near Irvine, California, 93, 109–10, 110
New Topographics, 111, 262
The Real Big Picture, 202
Robert Adams, 109
Southeast Corner, Semicoa, 333 McCormick, Costa Mesa, 110
Whitney Biennial, 198
Bare Legs by Store (Cohen), 90
Barney, Tina, 112, 142, 142, 201–2, 254
Barrie, Dennis, 227, 229
Barrow, Thomas, 91, 98–99, 100, 104, 106, 269n20
Barthes, Roland, 148–52, 179, 194, 252
Baudrillard, Jean, 149, 150
Bauhaus, 6, 14–15, 95, 101
Beauty in Photography: Essays in Defense of Traditional Values (Robert Adams), 182
Becher, Bernd and Hilla, 60–63
art world, 252–53
Morphologies and Anonymous Sculptures, 62
New Topo-graphics, 62, 108, 110, 262
The Real Big Picture, 202
Sonnabend, 94
Water Towers, 61, 61
Wingate, 94
Benglis, Lynda, 76–77, 77, 268n8 (chap. 5)
Benjamin, Walter, 17, 22, 145, 147–48
Best of Life, The (Muniz), 247, 248
Big Pictures by Contemporary Photographers, 141–42, 201
Bird Transformation (Mendieta), 79
Birnbaum, Dara, 127, 138–39, 138, 143
Bishop, Michael, 104, 106, 113
Black Mountain, 14
Blasted Allegories (Baldessari), 63, 105, 194
Blind Man, The (Duchamp), 53
Blondes/Brunettes (Wegman), 105–6, 106
Blumberg, Skip, 127, 137
Böckler, Ursula, 260
Boltanski, Christian, 62–63, 94, 203
Boomerang (Serra/Holt), 131
Boone, Mary, 174, 176, 208, 220, 221, 241
Borden, Janet, 112, 220
Brauntuch, Troy, 159, 161, 163–64, 163, 168
Brodovitch, Alexey, 95, 242, 269n19
Brooks, Ellen, 34, 172, 195–97, 197, 202
Buchloh, Benjamin, 139, 153, 174, 222
Buffalo, 114, 156, 157, 160–61, 183, 251
Burden, Chris, 68, 69, 161, 213
Burson, Nancy, 256–57, 256, 278n12
California Institute of the Arts (CalArts), 159–61
California Photography: Remaking Make-Believe, 64
Callahan, Harry, 14, 20, 91, 95, 155, 199
Callis, Jo Ann, 64, 121, 203
“Camera Art” (Levine), 146
Camera Obscura View of Brookline from Brady’s Bedroom (Morell), 251
Campus, Peter, 93, 124, 131–32, 138
Cancellations (Barrow), 98–99, 100, 106
Cape Light (Meyerowitz), 117, 155
Car Crash (Dine), 45
Carey, Ellen, 160, 250–52, 250
Casebere, James, 9, 165, 166, 172, 195–96, 202–3
Castelli, Leo, 25, 92–93, 132–33, 200, 271n6 (chap. 8)
Catalysis IV (Piper), 73, 74
Caught in the Act (Antin), 75
Champion Pig, The (Norfleet), 213
Charlesworth, Sarah, 170–72, 171, 194
Chelsea, 25, 241, 263
Chi, Tseng Kwong, 241, 243, 244
Chicago Seven, The (Avedon), 215
Chottel-Djerid (A Portrait in Light and Heat) (Viola), 140
Christenberry, William, 115, 121–22, 121, 270n24
Chromo-Therapy (Nagatani), 197
Church, Sprott, Alabama (Christenberry), 121
Cibachrome, 32, 172, 230, 249
Circular Surface Planar Displacement Drawing/90° Vertical Planar Rotary (Heizer), 50
Circus (Matta-Clark), 32, 33
Clock (One and Five), English/Latin Version (Kosuth), 266–67n5
Close, Chuck, 119–20, 202, 235
Cohen, Mark, 89, 90
Coke, Van Deren, 90, 151, 195
Coleman, A. D., 146, 153, 195–96
Colorado (Robert Adams), 109
Colored People (Weems), 246
Color Field painting, 163, 174
color photography, 118–23, 240
Color Theory (Carey), 250
Composites (Metzker), 95
Conceptual Art, 51, 53–65
Conical Intersect (Matta-Clark), 32, 33
connoisseurs, 222
contextualists, 222
Conversions (Acconci), 73
copy machines, 99–101
Cornell University, 1–2, 22, 27, 28, 43–46
Cowin, Eileen, 91, 182, 196–97, 198
Cremation Project (Baldessari), 63
Crimp, Douglas, 17, 153, 161–62, 174, 211
Crocus (Rauschenberg), 13, 14
Cross-References: Sculpture into Photography, 203
Cruel and Tender, 262–63
Cumming, Robert: art world, 269n3 (chap. 7)
Coleman, 195–96
A Discourse on Domestic Disorder, 107
8 Year Old Girl, 6 Month Old Weed, 107
fabricated to be photographed, 195–96
14 American Photographers, 108
The Friends of Photography, 108
Photography Until Now, 239
Two Views of One Mishap of Minor Consequence, 107, 107
Watermelon/Bread, 107
daguerreotype, 3–4, 188, 246, 249–50, 278n8
Day’s End (Pier 52) (Matta-Clark), 31, 32
deconstruction, 149–50, 271–72n9
Deja-Vu (Gibson), 88
Deli Package, New York (Penn), 216
Deluxe Photo Book 1971–73 (Burden), 69
dematerialization, 56, 267n9
Derrida, Jacques, 149, 271–72n9
Desmarais, Charles, 112–13, 121
Dialectics of Isolation: An Exhibition of Third World Women Artists of the United State, 80
Dibbets, Jan: Dutch Mountain, 50
Earth Art, 28
Earth Art (show), 45, 49, 51
Muybridge, 59
On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, 235
The Real Big Picture, 201–2
Tide (Vloed), 50, 50
Die Photographie ist auch nicht mehr das was sie mal war (Photography isn’t anymore what it used to be) (Kippenberger), 260
directorial mode, 195
Discourse on Domestic Disorder, A (Cumming), 107
Disfarmer, Mike, 213
Divola, John, 121, 197–98, 199
Door County (Jachna), 96
Double Negative (Heizer), 40, 48, 49
Double Rembrandt with Steps (Starns), 206, 207
Double Vision (Campus), 131
Dovima with Elephants (Avedon), 86
Downey, Juan, 127, 137–38
Duchamp, Marcel, 43, 51, 53–54, 69, 266n1 (chap. 4)
Dumpster Duplex (Matta-Clark), 30, 30
Düsseldorf, 60, 253, 278n10
Dutch Mountain (Dibbets), 50
Earth Art movement: Antin, 74
art and document, 262
Cornell show, 28, 43–47, 44, 46, 47
Dibbets, 49, 59
earthworks, 45
Earthworks (show), 266n5 (chap. 3)
Gorgoni, 50
Haacke, 49
Heizer, 48, 49
Mendieta, 79
Oppenheim, 49
photography, 8, 51, 69, 134
Smithson, 47
women, 268n2 (chap. 5)
Eastman, George, 103. See also George Eastman House
East Meets West (Chi), 244
East Village, 175–76, 207, 219, 241, 275n10
Eauclaire, Sally, 121, 203
Eggleston, William, 21, 111, 114, 115–17, 203, 262–63
8 Year Old Girl, 6 Month Old Weed (Cumming), 107
Elephant (Wegman), 120
Embed Series (Baldessari), 105
Equivalent (Stieglitz), 152
Equivalent (Uelsmann), 88, 89
Estelí (Meiselas), 210
Eternal Frame, The (T. R. Uthco), 137
Evans, Walker, 112, 119, 169, 204, 262–63
Every Building on the Sunset Strip (Ruscha), 19
Evidence (Sultan/Mandel), 192, 193, 194–95
Extended Document: An Investigation of Information and Evidence in Photographs, The, 103–7, 135
Eye Body: 36 Transformative Actions for Camera (Schneemann), 70, 70
Eye Body #11 (Schneemann), 70
fabricated to be photographed, 195
Falkland Road, Bombay, India (Mark), 211, 212
Family Docudrama (Cowin), 198
Family of Man, The, 6, 20, 154, 217
Female Figure (Rauschenberg/Weil), 15, 15
Feminist Art Program, 159
Ferns (Skoglund), 200
Figures (Charlesworth), 171
Fireflies (Larson), 99
Fischl, Eric, 159, 176, 275n17, 277n14
Following Piece (Acconci), 71–72
Folly, Suicy, Man Ray (Wegman), 105
Food for the Spirit (Piper), 73
Foster, Hal, 153, 174, 176, 240
Fountain (Duchamp/Stieglitz), 43, 53–54, 54, 266n1 (chap. 4), 266n2 (chap. 4)
Four Artists (Artists Space), 163
Four Fur Cutting Boards (Schneemann), 70
420 West Broadway, 92, 94, 241, 269n14
14 American Photographers (Cumming), 108
14 Pictures (Eggleston), 115
Frank, Robert, 20, 199, 204, 262
Frankfurt School, 22, 147, 153, 271n4 (chap. 9)
Friedlander, Lee, 7, 20, 21, 83, 86, 104, 262
Friends of Photography, 108, 182, 239
From Hand to Mouth (Nauman), 133
From Here I Saw What Happened and I Cried (Weems), 246–47
Fuss, Adam, 101, 248–49, 249
Gay Semiotics (Murray), 153
Geldzahler, Henry, 13, 118, 217
General Jungle or Carrying on Sculpting, The (Gilbert and George), 94
Generative Systems, 101
George Eastman House (Eastman House), 21, 62, 101, 103, 112–13, 269n1
Gibson, Ralph, 10, 65, 82, 88, 211
Gilbert and George, 62, 94, 202
Glass Tears (Ray), 263
Glueck, Grace, 126–28
Goldin, Nan, 91, 166, 178, 184–86, 202, 234, 274n11
Goldstein, Jack, 64, 157, 159, 161–64, 168, 174
Gorgoni, Gianfranco, 49–50
Gowin, Emmet, 35, 91, 109
Graham, Dan, 59–60, 60, 118, 123, 160
Grass Grows (Haacke), 43–44, 46
Great Pipes Monument, The (Smithson), 49
Greenwald, Ted, 27, 37, 67
Groover, Jan: Artf orum, 122–23, 146
Bordeaux, 241
color photography and art world, 122
Eastman House, 112
Graham, 60
“The Medium Is the Use,” 146
The New Color Photography (Eauclaire), 203
Sonnabend, 94
Untitled, 102
Whitney Biennial, 199
Gross, Gary, 167
Guerrilla Television (Shamberg), 136
Guest (Bucklow), 250
Gursky, Andreas, 252, 255–56, 255, 263
Haacke, Hans, 41–46, 42, 46, 49–51, 54, 58, 229
Halloween Revelers at the Waldorf Astoria, New York (Grundberg), 38, 39
Hallwalls, 160–61, 251
Hangers (Skoglund), 200
Happenings, 69, 118, 159
Hartshorn, Willis “Buzz,” 113, 214, 220
Harvey, Michael, 168
Hatsu-Yume (First Dream) (Viola), 140
Haxton, David, 63, 199, 201, 203
Haystack Cone, Freeport, Maine (Pfahl), 196
Heiferman, Marvin, 90–91, 156, 165, 201–2, 241, 273n17, 277–78n4
Heinecken, Robert, 64, 97–98, 98, 104, 179
Heizer, Michael, 40, 44, 45, 48–49
Hennessy, Richard, 174–75
Herald, 36–37, 148
Herb Schiller Reads the New York Times, 136
Heresies, 78, 80, 149
heroin chic, 217
History of Photography, The (Newhall), 4, 19
Hitler Moves East (Levinthal/Trudeau), 112, 192–93, 192, 195, 274n1 (chap. 12)
Hockney, David, 63, 112, 117–18, 201–3, 235
Holly Solomon Gallery, 27, 30, 35, 92, 202, 257
Holt, Nancy, 49, 131
Holzer, Jenny, 219, 229
Homes for America (Graham), 59–60, 60, 118
Hopps, Walter, 19, 53–54, 115
Hot Light/Half-Made Worlds: Photographs from the Tropics (Webb), 224
Huebler, Douglas, 55–57, 55, 93, 104, 170, 202
Hujar, Peter, 144, 232, 241
Human and Animal Locomotion (Muybridge), 59, 267n10
Hypothesis (Piper), 73
ICP. See International Center of Photography
identity art, 247
Image, 114, 145
Image of Desire: Portrayals in Recent Advertising Photography, 278n5
Image Scavengers: Photography, 174, 211
Immediate Family (Mann), 234
Immigrants Going down Gangplank, New York (Hine), 154
Incendiary Wafers (Matta-Clark), 30
Indomitable Spirit: Photographers and Artists Respond to the Time of AIDS, The, 241, 277n4
Information, 50–51, 54, 56, 61, 73
In Plato’s Cave (Solomon-Godeau), 172
Institute of Contemporary Art (Philadelphia), 137, 174, 227, 229, 257
Interior (Majore), 219
Interior Scroll (Schneemann), 71
International Center of Photography (ICP), 155, 212, 214, 220, 241
Interview magazine, 119, 161, 208
In the American West, 216
Irving Penn: Street Material, 217
Jachna, Joseph, 96
Jenkins, William, 62, 103–4, 108–9, 112–13, 262, 270n5
John Baldessari: Recent Paintings, 63
Jonas, Joan, 93, 128, 132–33, 132, 160, 271n5 (chap. 8)
Josephson, Kenneth, 96, 97, 104
Jumps (Acconci), 72, 72
Kaprow, Allan, 45, 69, 118, 159
Kennedy, John F., 8, 137, 166
Kertész, André, 10, 35, 86, 91
Kiefer, Anselm, 174, 235, 252, 275n17
Kingman Holiday (Barrow), 100
Kippenberger, Martin, 260
Kiss the Girls: Make Them Cry (Birnbaum), 138
Kitchen, the, 131, 139, 232
Kitchen Table Series, The (Weems), 246, 246
Klein, Michael, 162, 164–65
Kodak, 103, 118, 257–58
Koons, Jeff, 203–5, 208, 219, 263
Kosuth, Joseph, 54–56, 93, 170, 202, 266–67n5
Kramer, Hilton: as critic, 155
Eggleston, 115–16
Grundberg, 125–26
Mark, 211–12
“museumization” of photography, 194, 222
symposium, 151, 153
Krauss, Rosalind: Barthes, 150
Benglis, 77
Crimp, 162
“index” or “trace,” 248
“Notes on the Index: Seventies Art in America,” 150
October editorial, 145
Penn, 276n7
“Photography: Where We Are,” 151–52, 153
Pierce, 150
PS1, 150–51
“Television/Society/Art,” 139
Woodman, 186, 188
Krims, Les, 87–89, 195–96
Kruger, Barbara, 139, 170, 172–74, 173, 176, 194
Larson, William, 91, 98–99, 99
Lawler, Louise, 162–63, 169, 170, 182
Lawson, Thomas, 168, 174, 219
Lê, Dinh Q., 244
Leavitt, Thomas, 45, 46
Levine, Sherrie, 194
Image Scavengers, 174
Mary Boone Gallery, 176
Metro Pictures, 168
photographs of photographs, 9
Pictures (show), 161
Pictures: Photographs (show), 166
Presidents, 166, 167
Untitled (President Collage: 4), 167
Weston, 169
Whitney Biennial, 172
Levinthal, David, 9, 112, 172, 192–94, 192, 195
Levitt, Helen, 10, 86, 116, 155
LeWitt, Sol, 57–59
Autobiography, 58
Baldessari, 135, 160
Big Pictures by Contemporary Photographers, 201
Brick Wall, 58
Buried Cube Containing an Object of Importance but Little Value, 46
Conceptual Art, 54, 57
Constructivism, 267n14
Muybridge I, 58, 267n13
Muybridge II, 58, 59
Muybridge plates, 267n16
“Paragraphs on Conceptual Art,” 59
photographic meaning, 104
PhotoGrids, 58
Schematic Drawings for Muybridge II, 1964, 59
Sentences on Conceptual Art, 135
Serial Project, 267n14
Three Part Variations on Three Different Cubes, 267n14
Light Gallery, 3, 89–92, 182, 204
Barrow, 98
Callahan, 95, 96, 155
Gohlke, 108
Groover, 123
Heiferman, 165
Jones, 114
Metzker, 155
Michals, 88
Moholy-Nagy, 95, 96
Samaras, 119
Shore, 108, 111
Siskind, 95, 96
Likely Stories (Heiferman), 156
Livingston, Jane, 151, 153
Longo, Robert, 160–61, 164, 168, 170, 174, 219
Looking at Photographs (Szarkowski), 145
Lotringer, Sylvère, 150, 272n10
Love (Fuss), 249
Lucier, Mary, 139–40, 140–41
Lyons, Nathan, 21–23, 112–14, 183, 265n7 (chap. 1)
Made in Heaven (Koons), 205
Magic Finger (Self-Portrait with Pointing Finger), The (Sheridan), 100
Magnet TV (Paik), 129–30, 129
Magnum Photos, 211, 214, 223–24
Main Street, Gull Lake, Saskatchewan, August 18, 1974 (Shore), 111
Majore, Frank, 34, 219, 220
Making Chicken Soup (Krims), 87
Making Megalopolis Matter, 41
Mandel, Mike, 192, 193, 194–95
Mann, Sally, 234, 250
Man Ray (artist), 6, 69, 263, 275n16
Man Ray (dog), 105, 119, 135
Mapping the Studio I [Fat Chance John Cage] (Nauman), 134
Mapplethorpe, Robert: AIDS, 241
Art and Advertising: Commercial Photography by Artists, 220
National Endowment for the Arts, 229
obscenity trial, 227– 30
On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, 235
The Perfect Moment, 227, 229
Postmodernism, 277n8
Self-Portrait, 228, 228
Solomon, 27
Whitney Biennial, 199
X Portf olio, 232–35
“Marginalia: The Original Sin” (McEvilley), 159
Mark, Mary Ellen, 211, 212
Mary Boone (Winokur), 221
Matta-Clark, Gordon, 27–34, 46, 150–51
Cibachrome, 32–34, 266n3 (chap. 2)
Circus, 32–33
Conical Intersect, 32–33, 33
Cornell, 28
Day’s End (Pier 52), 31, 32
Dibbets, 28
Dumpster Duplex, 30, 30
Food, 25, 28
Incendiary Wafers, 30
98 Greene Street Loft, 28, 29
Office Baroque, 32–33
112 Greene Street, 28, 29, 151, 268n9
Open House, 30
Oppenheim, 28, 47
Photo Fry, 29, 35
Rope Bridge, 28, 28
Simon, 29, 30
Splitting, 24, 30–32, 33
Walls Paper, 29, 29
McEvilley, Thomas, 159
Meat Joy (Schneemann), 70
Medalla, David, 44, 45
“Media Arts in Transition, The,” 139
Media Burn (Ant Farm), 136, 137
Mein Kampf (Levinthal), 193
Meiselas, Susan, 179, 210, 223–24
Memory Rendering of Kiss at Times Square (Muniz), 247, 248
Mendieta, Ana, 66, 71, 79–81, 79, 189, 268n9
Men in the Cities (Longo), 170
Metro Bus Show, 160
Metro Pictures, 162–65, 168–70, 174–75
Metropolitan Museum of Art, 215, 217, 243
Metzker, Ray, 91, 95–96, 96, 155
Meyerowitz, Joel, 117, 117, 119, 203
Michals, Duane, 88, 88, 195, 198, 199
Michelson, Annette, 77, 145
Minimalism, 19, 73, 110
Mirror Displacement (Smithson), 47–48
Model, Lisette, 37
Modern History (Charlesworth), 170
Modernism, 142–43, 152, 162, 174
Moholy-Nagy, László, 6, 95–97, 101
MoMA. See Museum of Modern Art
Mona Lisa (Duchamp), 69
Mona Lisa (Starns), 206
Monogram (Rauschenberg), 43
Monuments of Passaic, The (Smithson), 48, 49
Moore, Peter, 86–87
Moral Majority, 229
Morell, Abelardo, 101, 250, 251
Morimura, Yasumasa, 244
Morphologies and Anonymous Sculptures, 62
Morris, Robert, 45, 76, 93, 160
Muniz, Vik, 247–48, 247, 262
museumization, 152, 194, 222
Museum of Modern Art, 19
Antin, 74
Arbus, 146
Avedon, 215
Big Pictures by Contemporary Photographers, 141–42, 201
California Photography: Remaking Make-Believe, 64
The Family of Man, 6
Information, 50, 54, 61, 73
LeWitt, 58
New Documents, 86
Newhall, 4, 19
Penn, 217
photography, 191
photojournalism, 212
Piper, 73
Postmodernism, 218
Projects, 138
Robert Adams, 109
video, 137–39
Museum Pictures (Struth), 238, 254
Muybridge, Eadweard, 57–59, 267n11
Artf orum, 62
Arts Magazine, 59
Baldessari, 105
Conceptual Art, 8
Graham, 59–60
Human and Animal Locomotion, 59
LeWitt, 57–59, 267n16
photography and art world, 146
Pippin, 250
Mythic Being (Piper), 73
Naef, Weston, 204, 215
National Endowment for the Arts, 3
culture wars, 225, 229, 236, 277n14
Doherty, 113
Light Gallery, 91
museum photo programs, 91, 182
obscenity trial, 230
photography, 84–85
National Geographic, 1, 256, 278n12
Nature Morte, 175, 219, 220
Nauman, Bruce, 104, 122, 122, 131, 133–35, 134, 271n10
Neo-Expressionists, 174–76, 204, 208, 240, 252, 275n17
Neo-Geo movement, 204–5, 208
Neon Templates of the Left Half of My Body Taken at Ten-Inch Intervals (Nauman), 133
Neue Sachlichkeit, 61, 94, 262
New and Used Car Salesman (Wegman), 135, 135
New Color Photography, The (Eauclaire), 121, 203
New Documents (Szarkowski), 86, 104, 115, 262
Newhall, Beaumont, 4, 14, 19, 21, 83, 113
New Industrial Parks near Irvine, California, The (Baltz), 93, 109–10, 110
New Painting of Common Objects, 19, 54
New Realists, 16, 19
Newton, Helmut, 217–18
New Topographics, 62, 103, 108–12, 204, 252, 269–70n4
New West, The (Robert Adams), 109
New York City (Friedlander), 20
Nicaragua (Meiselas), 179, 210, 223
Nine Swimming Pools and a Broken Glass (Ruscha), 19
98 Greene Street Loft, 27–31, 34, 92, 148
Nixon, Nicholas, 109, 110, 121
“Note on Bernhard and Hilla Becher, A” (Andre), 62, 267n19
Nothing Personal (Avedon/Baldwin), 215
No. 160, Division with Irregular Squares in Magenta and Orange (Haxton), 201
Objects of Desire (Charlesworth), 171–72, 171
obscenity trial, 227, 229, 234, 276n2, 276n3
October, 77
Benglis, 77
Crimp, 17, 162, 169
critics, 153
Krauss, 150
Levine, 169
Neo-Expressionists, 174
“Pictures,” 162
Postmodernism, 145, 172, 208
Sekula, 154
“Television/Society/ Art,” 139
theory, 149, 150
October 18, 1977 (Richter), 253
Office Baroque (Matta-Clark), 32–33
Ohio at Giverny (Lucier), 139–40, 140–41
One and Three Chairs (Kosuth), 54
100 Boots (Antin), 74–75
112 Greene Street, 25, 28–30, 78, 151, 266n1 (chap. 2)
Ono, Yoko, 68, 87
On Photography (Sontag), 146–48, 192, 271n4 (chap. 9)
On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, 235–36
On the Line: The New Color Photojournalism, 224
Open House (Matta-Clark), 30
Openings (Acconci), 73
Oppenheim, Dennis, 28, 41, 45–47, 47, 49, 94
Orr-Cahall, Christina, 230
Our Bodies Our Selves, 71
Outburst (Wall), 208
Owens, Craig, 153, 174
Paik, Nam June, 127, 129–30, 129, 159
Painted Word, The (Wolfe), 195, 274n4 (chap. 12)
Painting, Photography, Film (Moholy-Nagy), 95
Paradise Regained (Michals), 88
Penn, Irving, 214, 216–17, 216
Peress, Gilles, 224
“performalist self-portraits,” 75
Performance Art, 8, 27, 69, 73, 133, 189, 262, 264
Perpetual Photo (McCollum), 219
Pfahl, John, 9, 195, 196
Phillips 66, Flagstaff, Arizona (Ruscha), 18
photo-based art, 63, 164, 175–76
Photo Bus Show, 251
photoconceptualism, 56
Photo Fry (Matta-Clark), 29
photograms, 15, 97, 248–52
Photographer’s Eye, The (Szarkowski), 4, 21, 213
Photographers and Friends United Against AIDS, 241
Photographic Notes, 4
Photography of Invention: American Pictures of the 1980s, The, 203–4
Photography Until Now (Szarkowski), 239
“Photography: Where We Are,” 151, 153
Photography Year, 83–84
PhotoGrids (LeWitt), 58
photojournalism, 84, 112, 191, 212, 218, 223–24
Photorealism, 120
Photo-Secession, 5
Photo-Transformation (Samaras), 118, 119
Pick Up Your Feet: The Double Dutch Show (Blumberg), 127
Pictorialism, 5, 217
Picture magazine, 196
“Pictures” (Crimp essay), 162
Pictures (show), 17, 161, 162, 191, 195, 272–73n7
Pictures: Photographs, 165
Pictures Generation: Baldessari, 64
Charlesworth, 170
critical theory, 170, 273n19
In Plato’s Cave, 172
Marlborough, 172
Metro Pictures, 170
reception of, 168, 175, 191
Simmons, 193–94
Solomon-Godeau, 172
tableau, 193–94, 203
Winer, 161. See also Pictures (show)
Pictus Interruptus (Metzker), 95
pinhole, 248, 251, 252
Piper, Adrian, 73–74, 74, 163, 189
Pippin, Steven, 248, 250
Piss Christ (Serrano), 226, 230
Play of Selves, A (Sherman), 160
pluralism, 83, 240
Polaroid, 258, 270n21
Abramović and Ulay, 165
Carey, 251
Heinecken, 98
Polaroid Bit Shot, 119
Polaroid SX-70, 63, 84, 118–19
Polaroid 20×24 Studio, 119, 245, 251
Projects (show), 138
Samaras, 118–19
Simpson, 245
Wegman, 119–20
Poll (Haacke), 51
Pollock, Jackson, 2, 69–70
Pop Art, 16, 19, 54, 93, 262
Popular Photography, 83, 146
Porch, Provincetown, Massachusetts (Meyerowitz), 117
pornography, 224–25, 228–29, 232–35, 277n14
Portapak system, 130, 133
Porträt (P. Stadtbäumer) (Ruff), 253
Portraying a White God (Lê), 244
Postconceptual Art, 119, 156, 176–77
Postminimalism, 73, 76, 93, 133
Postmodernism: “As It Must to All, Death Comes to Post-Modernism” (Grundberg), 208
Crimp, 162
East Village, 176
end of, 240, 243
The Extended Document, 104
identity art, 247
Koons, 205
Levinthal, 192
Mandel, 192, 194
Mapplethorpe, 233
Neo-Expressionism, 175
New York Times, 179–80; 90s, 207–8
October, 77
photography, 143, 176, 195
Pictures artists, 64, 203
Pictures show, 191
political system, 172
pornography, 224–25
reception of, 172, 273n17
Sherman, 156–57, 181
silk-screen painting, 17
Sontag, 192
Starns, 206–7
Sultan, 192, 194
theory, 151
Trudeau, 192
Weems, 245
Woodman, 188
Poststructuralism, 153, 271–72n9
“Post-Studio Art,” 64, 159
Presidents (Levine), 166
Prince, Richard, 9, 166–68, 168, 172, 174, 182, 194, 219
Projects: 100 Boots by Eleanor Antin, 74–75
PS1, 150, 168, 174, 211
Radioactive Cats (Skoglund), 200
Rape (Mendieta), 80
Rape Scene (Mendieta), 80
Rauschenberg, Robert, 13–16, 14, 15, 17, 43, 63, 94, 201–2
Reading Position for Second Degree Burn (Oppenheim), 47
Real Big Picture, The, 201–3
Red Rock State Campground, Gallup New Mexico (Sternfeld), 205
Re:Figuration, 164
Reimagining American Theatre (Brustein), 227
Reiring, Janelle, 162–64, 183
Resnick, Marcia, 104, 106
Return of the Real, The (Foster), 240
Revenge of the Goldfish (Skoglund), 190, 199–201
Rhein II (Gursky), 263
Richter, Gerhard, 252–53
Rise and Monty Kissing, NYC (Goldin), 178
Robbins, David, 176, 218, 219–20
Robert Mapplethorpe: The Perfect Moment, 227, 229–30
Rochester, 114, 257. See also George Eastman House; Visual Studies Workshop
Room for St. John of the Cross (Viola), 140, 141
Rope Bridge (Matta-Clark), 28, 28
Rosler, Martha, 139, 146, 153, 229
Ruff, Thomas, 252–55, 253, 262
Ruhr Valley (Gursky), 255, 255, 263
Ruscha, Edward, 17–19, 18, 43, 195, 202, 265n5 (chap. 1), 268n5 (chap. 5)
Russell, John, 126, 139, 155
Salle, David, 64, 159, 161–62, 174, 176
Samaras, Lucas, 118–19, 118, 146, 203, 239
Sand Creatures (Metzker), 95
Sander, August, 61, 94, 146, 262
Sand in der Vaseline (Sand in the Vaseline) (Kippenberger), 260
Sandler, Irving, 6, 10, 53, 133, 161
San Francisco, California (Chi), 244
Satiric Dancer (Kertész), 91
Schematic Drawings for Muybridge II, 1964 (LeWitt), 59
Schnabel, Julian, 174, 176, 204, 208
Schneemann, Carolee, 69–71, 70, 189
Scully, Julia, 83, 103, 121, 275n2
Seedbed (Acconci), 68, 94, 133
Sekula, Allan, 75, 139, 153–55, 222
Sélavy, Rrose, 69
Self-Deceit #4, Rome, Italy (Woodman), 187
Self-Portrait (Mapplethorpe), 228
Self-Portrait as a Fountain (Nauman), 122, 122
Semiotext(e), 150, 272n10
semiotics, 148–50
Sense of an Ending, The (Barnes), 1
Sentences on Conceptual Art (LeWitt), 135
Serial Project, 1 (ABCD) (LeWitt), 58
Serra, Richard, 131–32
Serrano, Andres, 226, 227, 230, 234–36
Sex Series (Wojnarowicz), 231, 231
Shapolsky et al. Manhatt an Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 (Haacke), 41–43, 42, 54
Sharp, Willoughby, 44–45, 79
Sheridan, Sonia Landy, 100, 101
Sherman, Cindy, 9–10, 184, 185, 188
Akron Art Museum, 183, 185
Art and Advertising: Commercial Photography by Artists, 220
Artists Space, 156
Buffalo, 160
centerfolds, 180–81
Crimp, 162
critical theory, 273n19
Four Artists, 163
Galassi, 239
Image Scavengers, 174
In Plato’s Cave, 172
Levinthal and Trudeau, 193
Masking and Unmasking: Aspects of Post-Modernist Photography, 182
Metro Bus Show, 160
Metro Pictures, 168, 172, 179–80
On the Art of Fixing a Shadow, 235–36
Photo Bus Show, 251
Photography Until Now, 239
Picture, 196
A Play of Selves, 160
prices, 263
Re:Figuration, 164
The Real Big Picture, 202
Schneemann, 71
Talent (Robbins), 219
Untitled #85 to Untitled #96, 180
Untitled #96, 181
Untitled Film Stills, 163–64, 181, 188
Untitled Film Still #7, 158
Whitney Biennial, 172
Woodman, 188
Shields, Brooke, 167
Shoot (Burden), 68, 69
Shore, Stephen, 27, 89, 108, 110–11, 111, 121, 203, 262
Silueta (Mendieta), 66, 80
Simmons, Laurie: Art and Advertising: Commercial Photography by Artists, 220
Brooks, 193–94, 197
Cibachrome, 34
Image Scavengers, 174
In Plato’s Cave, 172
Klein, 164
Marlborough Gallery, 172
Masking and Unmasking: Aspects of Post-Modernist Photography, 182
Metro Pictures, 164, 168
The Real Big Picture, 202
Re:Figuration, 164
Whitney Biennial, 172
Woman with Red Chair, 165
Simon, Joan, 27, 29, 103, 241
Simpson, Lorna, 244–45, 245
Simulations (Baudrillard), 150
Singing Sculpture (Gilbert and George), 94
Sischy, Ingrid, 180, 208
Siskind, Aaron, 14–15, 91, 95, 96, 98, 118
Skoglund, Sandy, 9
Cibachrome, 34
Cross-References: Sculpture into Photography, 203
Likely Stories, 156
On the Art of Fixing a Shadow, 235
Pictures: Photographs, 166
Revenge of the Goldfish, 190, 199–201
Whitney Biennial, 199–201
Smith, Patti, 10, 36–37, 37
Smith, Philip, 61, 272n7, 273n8, 273n9
Smithson, Robert, 41, 45, 47–50, 48, 49, 79
Snyder, Joel, 151–52, 153
Society for Photographic Education (SPE), 21, 155, 272n19
Society of the Spectacle (Debord), 149
Soho, 7, 25–26, 67–68, 78, 92–94, 160, 175, 176, 205, 241
Solomon, Holly, 27, 30, 35, 92, 134–35, 182, 202
Solomon-Godeau, Abigail, 153, 172, 186, 188–89
Some Los Angeles Apartments (Ruscha), 19
Somnambulist, The (Gibson), 82, 88
Sonnabend, Ileana, 13, 25, 63, 92–94, 132, 204, 267n21
Sontag, Susan, 2, 144
Against Interpretation, 146
“image-world,” 9
On Photography, 146–48
“Photography: Where We Are,” 151–53, 153
photography and Surrealism, 271n4 (chap. 9)
Styles of Radical Will, 146
Writing Degree Zero, 148
S.O.S. Starification Object Series (Wilke), 75–76, 75
Southeast Corner, Semicoa, 333 McCormick, Costa Mesa (Baltz), 110
Southern California, 104, 107, 157
spectacle, 149
Spelling Lesson (Wegman), 135
Spiral Jetty (Smithson), 47–50, 48
Spiritual America: Gross, 167
Prince, 167
Stieglitz, 167
Splitting (Matta-Clark), 24, 30–31, 33
Stamping in the Studio (Nauman), 133–34, 134
Starn, Doug and Mike, 205–7, 207, 242, 248
Stars (Ruff), 254
Steerage, The (Stieglitz), 154
Steichen, Edward, 5, 6, 20
Steinmetz, Phil, 75
Sternfeld, Joel, 179, 187, 204, 205
Stieglitz, Alfred, 5
cloud photographs, 169
Equivalent, 152
Fountain, 53, 54, 266n1 (chap. 4), 266n2 (chap. 4)
Kramer, 194
Photography Year, 84
Spiritual America, 167
The Steerage, 154
Stills (Charlesworth), 171–72
Stockholm (Josephson), 96, 97
Store, The (Oldenburg), 45
Strobe Series/Futurist: Trying To Get A Straight Line With A Finger (Baldessari), 64, 105
Struth, Thomas, 238, 252, 254, 262
Studio International, 146
Styles of Radical Will (Sontag), 146
Subdivision with Spotlight (Casebere), 166
Sugimoto, Hiroshi, 63, 94
Sultan, Larry, 192–95, 193
Sunday New York Times (Barney), 142, 142
Surrealism, 6, 69, 88, 147, 194, 271n4 (chap. 9)
Susan Sontag (Hujar), 144
Szarkowski, John, 20–21
Avedon, 215
color photography, 111
“A Different Kind of Art,” 22, 191
Eggleston, 111, 115–17
fashion, 218
Haas, 270n19
Looking at Photographs, 145
New Documents, 104, 262
Penn, 217
The Photographer’s Eye, 4, 213
photography, 4, 22–23, 145, 277n1
Photography Until Now, 239
photojournalism, 212, 218
tableau photography, 193, 195–96, 199–203, 209, 245
Talent (Robbins), 218, 219
Tate Modern, 261–62, 278n2
Teaching a Plant the Alphabet (Baldessari), 135
Technology/Transformation: Wonder Woman (Birnbaum), 138–39, 138, 143
Television Delivers People (Serra), 131
“Television/Society/Art,” 139
Telex Iran: In the Name of Revolution (Peress), 224
This Is Not a Photograph: Twenty Years of Large-Scale Photography, 1966–1986, 203
303 Gallery, 175, 200, 255
Three Transitions (Campus), 124, 131–32
Throwing Four Balls in the Air to Get a Square [Best of 36 Tries] (Baldessari), 105
Tide (Dibbets), 50, 50
Tilted Arc (Serra), 131
Tom, Tom, the Piper’s Son (Jacobs), 130
Trademarks (Acconci), 73
Tribeca, 25, 160, 161, 175
Trivia (Barrow), 98
Trudeau, Garry, 192–94
True Artist Helps the World by Revealing Mystic Truths, The (Nauman), 133
T. R. Uthco, The Eternal Frame, 137
Turbeville, Deborah, 86, 217
TV Buddha (Paik), 130
Twenty Photographic Pictures by David Hockney (Hockney), 117–18
Twentysix Gasoline Stations (Ruscha), 18–19, 18, 43, 268n5 (chap. 5)
200 Campbell Soup Cans (Warhol), 16
Two Views of One Mishap of Minor Consequence (Cumming), 107, 107
Uelsmann, Jerry, 85, 88–89, 89, 196
Ulay (Frank Uwe Laysiepen), 165
Uncommon Places (Shore), 89, 111
Untitled (cowboy) (Prince), 219
Untitled (Cowin), 198
Untitled [Doctor and Nurse] (Brooks), 197
Untitled (Eggleston), 114
Untitled (Fuss), 249
Untitled (Gibson), 82
Untitled (Groover), 102
Untitled (Hats) (Brauntuch), 163
Untitled (Larson), 99
Untitled (Levinthal), 192
Untitled (Mendieta), 66
Untitled (President Collage: 4) (Levine), 167
Untitled (three men looking in the same direction) (Prince), 168
Untitled (Wojnarowicz), 231
Untitled (Woman and Daughter with Makeup) (Weems), 246
Untitled (You Are Not Yourself) (Kruger), 173
Untitled Film Still #7 (Sherman), 158
Untitled Film Stills (Sherman), 163, 164, 181, 188, 239, 273n19
Untitled #96 (Sherman), 180–81, 181
Ut, Nick, 223
uptown, 27, 92–93, 240
Vandalism (Divola), 197
Variable Piece #70 (Huebler), 55–56, 55
Vertical Roll (Jonas), 132, 132
Video: A Retrospective, 139
Video Art: A History, 139
Videofreex, 131
Vietnam Mission Council, 215
Viola, Bill, 127, 140, 141
Violi, Paul, 36
Visual Studies Workshop, 23, 112–14, 137, 145, 183, 198
Wagstaff, Sam, 151, 233, 241
Wall, Jeff, 56, 208, 209, 262
Walls Paper, 29, 29
Warhead I (Burson), 256–57
Warhol, Andy, 16–17
Ambulance Disaster, 12
Avedon, 215
Graham, 59
Polaroid, 119
Rauschenberg, 13
The Real Big Picture, 202
Ruscha, 19
200 Campbell Soup Cans, 16
Watermelon/Bread (Cumming), 107
Water Towers (Bechers), 61, 61
Wavelength (Snow), 130
Webb, Boyd, 63, 94, 202, 203
Weber, Bruce, 217, 242
Weegee (Arthur Fellig), 214
Weems, Carrie Mae, 10, 245–47, 246, 278n8
Wegman, William: Art and Advertising: Commercial Photography by Artists, 220
Big Pictures by Contemporary Photographers, 201
Blondes/Brunettes, 105–6, 106
Castelli, 93
Coleman, 195
Dog Biscuit in Glass Jar, 135
Dog Duet, 135
Elephant, 120
The Extended Document, 104–5
Folly, Suicy, Man Ray, 105
New and Used Car Salesman, 135, 135
Photography Until Now, 239
Polaroid, 119
Sesame Street, 119
Solomon, 27, 35, 94
Spelling Lesson, 135
What Is On, 35
Winer, 161
Weil, Brian, 156, 202
Weil, Susan, 15, 15
Weinberg, Adam, 113, 224
Welling, James, 64, 159, 168–69, 172, 182
wet-plate collodion, 250–51
What Is On (Wegman), 35
“What’s All This About Photography?” (Hennessy), 174–75
White, Minor, 83, 88
Whitney Biennial, 275n10
Charlesworth, 172
Divola, 198
Lucier, 139–40
photography, 199
Postmodernists, 172
Robert Adams, 198–99
Skoglund, 199
Starns, 206
video, 127–28, 137–39
Viola, 140
Weems, 246
Wildmon, Donald, 229–30, 276n4 (chap. 14)
Wilke, Hannah, 71, 75–76, 75, 189
William Eggleston’s Guide (Eggleston), 115
Winer, Helene, 161–64, 175, 183, 241
Wingate, Ealan, 63, 93–94, 269n17
Winogrand, Garry, 21, 86, 89, 104, 115, 262
Winokur, Neil, 34, 112, 220, 221
Wisconsin Death Trip (Lesy), 114, 213
Witkin Gallery, 3, 84, 87–89, 268–69n8
Witnesses: Against Our Vanishing, 231
Wojnarowicz, David, 231, 231
Wolmer, Bruce, 148–49
Woman with Red Chair (Simmons), 165
Woodman, Francesca, 71, 184, 186–89, 187
Words (Kaprow), 45
Writing and Difference (Derrida), 149
Writing Degree Zero (Barthes), 148, 252
Wrong (Baldessari), 63
X Portf olio (Mapplethorpe), 232–33
You’re Fine (Simpson), 245, 245
Zen for TV (Paik), 129
Zuma (Divola), 197–99, 199
Index
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