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| 1. |  | Unidentified photographer / artist n.d. Standard Gasoline - Unsurpassed Ampersand Vintage |
| 2. |  | Alfred Stieglitz 1917 Fountain by R. Mutt Book page Creative Commons - Wikipedia Photograph of Marcel Duchamp's "Fountain". (Urinal "readymade" signed with joke name; early example of "Dada" art). A paradigmatic example of found-art. The Blind Man No. 2, page 4. Editors: Henri-Pierre Roche, Beatrice Wood, and Marcel Duchamp. Published in New York, May 1917 Fountain by Marcel Duchamp. 1917. Photograph by Alfred Stieglitz. Source: http://sdrc.lib.uiowa.edu/dada/blindman/2/04.htm |
| 3. |  | Walker Evans 1935 (taken) 1971 (print) Outdoor advertising sign near Baton Rouge, Louisiana Gelatin silver print 7 7/16 x 9 1/4 ins Howard Greenberg Gallery Inventory no: 0046960 Mounted. Signed in pencil on mount recto. From Ives-Sillman portfolio, Edition #42/100, 1971. |
| 4. |  | Walker Evans 1936 (taken) 1974 (print) Shoeshine Sign in a Southern Town Silver print 7 1/2 x 8 1/2 ins (19 x 21.5 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction, "Important Photograms & Photobooks", Dec 9, 2010, #2233, Lot 245) With Evans's signature and edition notation 18/75, in pencil, on mount recto. |
| 5. |  | Walker Evans 1936 Penny Picture Display, Savannah Gelatin silver print 24.7 x 19.3 cm (9 3/4 x 7 5/8 in) Metropolitan Museum of Art Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.482) © Walker Evans Archive, The Metropolitan Museum of Art Curatorial description This picture is a composite portrait of a slice of society. It represents the window display of an anonymous portrait photographer in the South during the Depression. He was evidently not much of an artist but was good at pinching pennies, eager for business, and proud of his trade. On each of his large negatives he managed to make fifteen individual portraits. He thought most exposures good enough to use in this advertising display but covered his occasional failures with more successful images cut from other contact sheets. For an analysis of this photograph: Juliet Hacking (ed.), 2012, Photography: The Whole Story, (Prestel), pp. 286-287 |
| 6. |  | Harold Chapman 1960s Priest and Bill Board, Paris Gelatin silver print OMC Gallery for Contemporary Art © Harold Chapman, Courtesy of OMC Gallery |
| 7. |  | Harry Callahan 1950 (ca, taken) 1971 (before, print) Untitled (wall, meat signage and nude montage) Gelatin silver print 5 1/4x6 1/2 ins (13.3x16.5 cm) Swann Galleries - New York Courtesy of Swann Galleries (Auction, Photographs and other Properties from the Estate of Filmmaker Gary Winick, April 04, 2012, Sale: 2274, Lot: 362) With Callahan's signature, in pencil, on mount recto. |
| 8. |  | David Robinson 1980s (ca) Masked Girl Barry Singer Gallery |
| 9. |  | Todd Webb 1946 (taken) 1970s (print) 106th Street, New York Gelatin silver print 15 x 12 in Carl Mautz Vintage Photographs |
| 10. |  | Phil Bergerson n.d. Untitled, New York, New York Chromogenic print 16 x 16 Stephen Bulger Gallery |
| 11. |  | Robert Frank 1955 Hoover Dam Gelatin silver print 18 3/16 x 12 3/16 ins Source requested © Robert Frank Under a blazing Nevada sun, Robert Frank's amalgam of pictures brought together the natural, rough, wild canyons of the Colorado River, the smooth, artificial, restraining container of the Hoover Dam, and the terror of an atomic mushroom cloud, producing a 1950s allegory of the past, present, and future. Frank's vision of the atomic era can be understood in the statement: "Black and white is the vision of hope and despair. This is what I want in my photographs." Robert Frank quoted in Sarah Greenough, Philip Brookman, et al., Robert Frank: Moving Out (Washington, D.C.: National Gallery of Art, 1994), 54. |
| 12. |  | Robert Heinecken 1984 Jane Pauley/Bryant Gumbel: A Case Study in Finding an Appropriate TV Newswoman Cibachrome print 33 x 14 Barry Singer Gallery |
| 13. |  | Robert Heinecken 1989 Shiva Manifesting as a Single Mother Collage Source requested © Robert Heinecken Estate; Courtesy of Joyce Neimanas Photo Synthesis Colin Westerbeck A memorial service for Robert Heinecken will be held Aug. 12 from 10 a.m. to noon in UCLA's Kerckhoff Hall. (2006) Robert Heinecken could never decide what to call himself. Settling first on "paraphotographer," he later opted for "photographist." Really, though, he was a premature postmodernist. That movement, coming into its own during the '80s in the work of Richard Prince and others, appropriated images from mass media as its subject matter. But Heinecken was already doing that 20 years earlier. It explains why he didn't like "photographer," because the term meant someone who was making pictures rather than swiping them. The piece seen here is typical, a collage of images cut out of magazines and glued down to form a paper bas-relief. Perhaps because he was too much a parodist for the rather humorless postmodernists, they never acknowledged how he pioneered their work. He was also early in recognizing feminism, but was never embraced by that movement either because he was suspected of also being a male chauvinist. He was, in his own unapologetic way. The one place where he made a mark that no one disputes was in the classroom. Teaching at UCLA from 1960 until 1991, Heinecken educated an entire generation of photographers and postmodernists alike. He once publicly thanked his wife, photographer Joyce Neimanas, because she "lets me be who I am," and his students might have said the same of him. Many of them will be at the memorial service for Heinecken, who died on May 19. (2006) [Originally published in West Magazine : August 6. 2006 , p.11] |
| 14. |  | Hannah Höch 1930 Indian Female Dancer (From an Ethnographic Museum) Collage of cut and pasted papers and photographs on paper 10 1/8 x 8 7/8 ins MoMA - Museum of Modern Art, New York |
| 15. |  | John Heartfield 1932 War and Corpses: the Last Hope of the Rich [From AIZ (April 24, 1932), vol. 11, no. 18, pp. 420-421] Copper-plate photogravure J. Paul Getty Museum © 2006 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn (The Getty Research Institute, Research Library, 87-S194) |
| 16. |  | Thomas Allen 2006 Chemistry Chromogenic print 24 x 20 in Foley Gallery |
| 17. |  | Thomas Allen 2006 Fury Chromogenic print 24 x 20 in Foley Gallery |
| 18. |  | Sherrie Levine 1979 Untitled (President: 4) Collage on paper 24 x 18 in (60.9 x 45.7 cm) Metropolitan Museum of Art © Sherrie Levine, The Metropolitan Museum of Art, Mary Martin Fund, 1990 (1990.1057) |
| 19. |  | Sherrie Levine 1981 After Walker Evans: 2 Gelatin silver print 3 3/4 x 5 1/16 in (9.6 x 12.8 cm) Metropolitan Museum of Art © Sherrie Levine, The Metropolitan Museum of Art, Gift of the artist, 1995 (1995.266.2) |
| 20. |  | Barbara Kruger 1989 Untitled [Your body is a battleground - Support Legal Abortion -Birth Control and Women's Rights] Postcard Private collection of Alan Griffiths Publisher: Fotofolio, Box 661 Canal Sta., NY, NY 10013, Id: BK20 |
| 21. |  | Unidentified photographer 1990s (early, ca) Sincerely Yours, Karl Marx. "Rebel with a cause" Postcard Private collection of Alan Griffiths Publisher: Leeds Postcards, Ray Lowry |
| 22. |  | Alfred Gescheidt 1985 "Let's Bomb 'um back to the Stone Age!" [Ronald Flintstone] Postcard Private collection of Alan Griffiths Publisher: © 1985 The American Postcard Co. Inc., Id: 961 |
| 23. |  | Yasumasa Morimura 2001 An Inner Dialogue with Frida Kahlo (Hand Shaped Earring) Color print Institute of Contemporary Art Courtesy of Luhring Augustine, New York. |
| 24. |  | Yasumasa Morimura 1994 Self Portrait, 1628 Chromogenic print, on canvas 42 x 32 cm Christie's - New York Christies - NY (Sale 2086: Lot 0128 - Oct 17, 2007 - On Artists: Photographs from the Collection of Rex, Inc.) Signed, numbered '1/5' in ink, printed title in Japanese and date on a label affixed (on the frame backing) |
| 25. |  | Vik Muniz 1998 Individuals Silver dye bleach print 152.4 x 101.6 cm (60 x 40 in) Metropolitan Museum of Art Purchase, The Horace W. Goldsmith Foundation Gift, 1999 (1999.200) © Vicente Muniz |
| 26. |  | Robert Silvers 1996 Life [Final photomosaic] Photomosaic 147 x 122 cm Fabien Fryns Fine Arts (CLOSED) |
| 27. |  | Robert Silvers n.d. Life [Mosaic - showing 6 covers] Photomosaic Fabien Fryns Fine Arts (CLOSED) |
| 28. |  | Robert Silvers n.d. Life [Mosaic - showing 1 cover) Photomosaic Fabien Fryns Fine Arts (CLOSED) |
| 29. |  | Richard Prince 1977 Untitled (four single men with interchangeable backgrounds looking to the right) Mixed media on paper 23 x 19 in (58.4 x 48.3 cm) Metropolitan Museum of Art © Richard Prince, The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2000 (2000.123) |
| 30. |  | Richard Prince 1980 Untitled (Hand/Piano) Chromogenic print 16.4 x 24 cm Christie's - New York Christies - NY (Sale 1983: Lot 0331 - Oct 18, 2007) Signed and inscribed in ink (in the margin); dated in an unknown hand in ink (on the verso) |
| 31. |  | Richard Prince 1987 Untitled Chromogenic color print 27 x 40 ins Source requested Courtesy Regen Projects, Los Angeles |
| 32. |  | Richard Prince 1989 Untitled (Cowboy) Chromogenic print 127 x 177.8 cm (50 x 70 in) Metropolitan Museum of Art Purchase, The Horace W. Goldsmith Foundation and Jennifer and Joseph Duke Gifts, 2000 (2000.272) © Richard Prince |
| 33. |  | Robert Rauschenberg 1964 Retroactive I Silkscreen print with oil on canvas 84 x 60 ins Source requested Wadsworth Atheneum Museum of Art, Hartford, CT. Gift of Susan Morse Hilles. Art ® Robert Rauschenberg Estate/Licensed by VAGA, NY |
| 34. |  | Gerhard Richter n.d. Untitled Poster Source requested |
| 35. |  | Andy Warhol 1964 16 Jackies Acrylic, enamel on canvas Walker Art Center Collection Walker Art Center, Art Center Acquisition Fund, 1968 |
| 36. |  | Andy Warhol 1964 Marilyn, left hand side Silkscreen Source requested © Private Collection/Alinari/The Bridgeman Art Library |
| 37. |  | Andy Warhol 1967 Marilyn [on blue ground] Source requested © Andy Warhol Foundation |
| 38. |  | Andy Warhol 1966 Jackie II Screenprint in colors 24 x 30 in (sheet) Rago Arts and Auction Center Courtesy of Rago (Sale Nov 17, 2007 - Lot 112) Stamped "Andy Warhol" on verso PRINTER: KMF, Inc. PUBLISHER: Original Editions, New York |
| 39. |  | John Baldessari 2005 Face (with Red Nose): Plus Four Alternate Noses LACMA: Los Angeles County Museum of Art © John Baldessari; Courtesy Los Angeles County Museum of Art Photo Synthesis Colin Westerbeck "Magritte and Contemporary Art" is on view at the Los Angeles County Museum of Art through March 4, 2007. Besides being included in this exhibit, John Baldessari helped design it. The homage to Magritte is apparent in the way that he, too, hides his subject's identity. Whereas Magritte might have someone turn away, Baldessari in the 1980s painted circles over faces in the news photographs or old movie stills in his work. The noses seen here are a variation on that idea, with different colors so the viewer can imagine the subject in different moods (red for dangerous, blue for hopeful, etc.). It's all pretty crude, and intentionally so. The photo reproduction is grainy, the painting amateurish; even the moods are color-coded cliches. Baldessari is associated with Conceptual Art, a misnomer or, at any rate, ironic because it implies intellectual elitism. He likes pictures that are "dumb," he says. Art should be "mute and stupid and not about parading . . . virtuosity." Conceptualism was a reaction against Abstract Expressionism, which emphasized sensibility and originality. Like other Conceptualists, Baldessari has made his art from debased materials, forgotten pop-culture references and deadpan humor. He wants to remain as anonymous as the B-movie actors in his work [Originally published in West Magazine : November 26, 2006, p.13] |