33 Artists in 3 Acts (51 page)

Act I, Scene 11

Tammy Rae Carland,
I’m Dying Up Here (Strawberry Shortcake)
, 2010, C-print, 30 × 40 inches. Courtesy of the artist and Jessica Silverman Gallery.

Lyrics to Bikini Kill’s “For Tammy Rae” used with permission of Kathleen Hanna.

Act I, Scene 12

Jeff Koons,
Rabbit,
1986, stainless steel, 41 × 19 × 12 inches. © Jeff Koons.

Act I, Scene 13

Ai Weiwei,
Study of Perspective
—
The White House
, 1995, color print, dimensions variable. Courtesy of the artist.

Act I, Scene 14

Jeff Koons,
The New Jeff Koons
, 1980, Duratran, fluorescent light box, 42 × 32 × 8 inches. © Jeff Koons.

Act I, Scene 15

Martha Rosler, still from
Semiotics of the Kitchen
, 1975, running time: 6'09", black-and-white, sound. Courtesy of the artist and Mitchell-Innes & Nash.

Act I, Scene 16

Jeff Koons
. Metallic Venus
, 2010–12, mirror-polished stainless steel with transparent color coating and live flowering plants, 100 × 52 × 40 inches. © Jeff Koons.

Act I, Scene 17

Ai Weiwei,
Hanging Man
:
Homage to Duchamp
, 1983, clothes hanger, sunflower seeds, 39 × 28 cm. Photo: Ai Weiwei. Courtesy of the artist.

Act II, Scene 1

Elmgreen & Dragset,
Marriage
, 2004, two mirrors, two porcelain sinks, taps, stainless steel tubing, soap, 178 × 168 × 81 cm. Installation shot from “The Collectors,” Danish and Nordic Pavilions, Venice Biennale 2009. Photo: Anders Sune Berg. Courtesy of VERDEC Collection, Belgium, and Gallerie Nicolai Wallner, Copenhagen.

Act II, Scene 2

Maurizio Cattelan,
Super Us
, 1996, acetate sheets, 29.8 cm × 21 cm each. Courtesy of Maurizio Cattelan Archive.

Act II, Scene 3

Laurie Simmons,
Talking Glove,
1988, Cibachrome print, 64 × 46 inches. Courtesy of the artist.

Act II, Scene 4

Carroll Dunham,
Study for Bathers
, 2010, graphite on paper, 12-5/8 × 8-7/8 inches. Courtesy of the artist and Gladstone Gallery.

Act II, Scene 5

Maurizio Cattelan,
Bidibidobidiboo
, 1996, taxidermied squirrel, ceramic, Formica, wood, paint, and steel, 45 × 60 × 58 cm. Photo: Zeno Zotti. Courtesy of Maurizio Cattelan Archive.

Act II, Scene 6

Carroll Dunham,
Shoot the Messenger
, 1998–99, mixed media on linen, 57 × 73 inches. Courtesy of the artist and Gladstone Gallery.

Act II, Scene 7

Francis Alÿs,
Paradox of the Praxis I (Sometimes Doing Something Leads to Nothing)
, 1997, Mexico City, video documentation of an action, running time: 5 minutes. Photo: Enrique Huerta. Courtesy of the artist.

Act II, Scene 8

Cindy Sherman,
Untitled #413
, 2003, chromogenic color print, 46 × 311.8 inches. Courtesy of the artist and Metro Pictures, New York.

Act II, Scene 9

Jennifer Dalton,
How Do Artists Live? (Will Having Children Hurt My Art Career?),
2006, pastel on chalkboard paint on paper, 18 × 24 inches. Courtesy of the artist and Winkleman Gallery.

Act II, Scene 10

Maurizio Cattelan,
L.O.V.E.
, 2010, hand: white “P” Carrara marble, base: bright Roman travertine, hand: 470 × 220 × 72 cm; base: 470 × 470 × 630 cm, full installation height: 1100 cm. Installation view: Piazza degli Affari, Milan, 2010. Photo, Zeno Zotti. Courtesy of Maurizio Cattelan Archive.

Act II, Scene 11

Laurie Simmons,
Love Doll: Day 27/Day 1 (New in Box),
2010, flex print, 70 × 52.5 inches. Courtesy of the artist.

Act II, Scene 12

Maurizio Cattelan,
ALL
, 2011. Installation view: Solomon R. Guggenheim Museum, New York, November 4, 2011–January 22, 2012. Photo: Zeno Zotti, © The Solomon R. Guggenheim Foundation, New York. Courtesy of Maurizio Cattelan Archive.

Act II, Scene 13

Lena Dunham, still from
Tiny Furniture,
2010, running time: 98 minutes. Courtesy of Lena Dunham and Dark Arts Film.

Act II, Scene 14

Cindy Sherman,
Untitled
(detail), 2010, pigment print on PhotoTex adhesive fabric, dimensions variable. Courtesy of the artist and Metro Pictures, New York.

Act II, Scene 15

Rashid Johnson,
Self Portrait as the Professor of Astronomy, Miscegenation and Critical Theory at the New Negro Escapist and Athletic Club Center for Graduate Studies
, 2008. Courtesy of the artist.

Act II, Scene 16

Carroll Dunham,
Late Trees #5
, 2012, mixed media on linen, 80-1/4 × 75-1/4 inches. © Carroll Dunham. Courtesy of the artist and Gladstone Gallery.

Act II, Scene 17

Jason Nocito.
Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick
, curatorial team of 4th Berlin Biennial for Contemporary Art, 2006.

Act II, Scene 18

Laurie Simmons, still from
MY ART
, narrative feature film written, directed by, and starring Laurie Simmons, in progress. Courtesy of the artist.

Act II, Scene 19

Maurizio Cattelan,
Mother
, 1999, silver dye bleach print, 156.5 × 125.1 cm. Photo: Attilio Maranzano. Courtesy of Maurizio Cattelan Archive.

Act III, Scene 1

Damien Hirst,
Mother and Child (Divided), Exhibition Copy
, 2007 (original 1993), glass, painted stainless steel, silicone, acrylic, monofilament, stainless steel, cow, calf, and formaldehyde solution, tank 1: 190 x 322.5 x 109 cm; tank 2: 102.9 x 168.9 x 62.3 cm. © Damien Hirst and Science Ltd. All rights reserved, DACS 2014. Image © Tate, London 2013. Funds for illustration donated by Sotheby’s.

Act III, Scene 2

Andrea Fraser.
Official Welcome
, performance, 27 October 2009, “Number Three: Here and Now,” Julia Stoschek Collection, Düsseldorf. Photo: Yun Lee, Düsseldorf. Courtesy of the artist and the Julia Stoschek Collection.

Act III, Scene 3

Andrea Fraser,
Untitled,
2003, project and video installation. Courtesy of the artist.

Act III, Scene 4

Christian Marclay, still from
The Clock
, 2010, single channel video, running time: 24 hours. Courtesy of White Cube, London, and Paula Cooper Gallery, New York.

Act III, Scene 5

Marina Abramovi
,
The Artist Is Present
, performance, 2010, duration: 3 months, Museum of Modern Art, New York. Courtesy of the Marina Abramovi
Archives.

Act III, Scene 6

The V-Girls performing
Daughters of the ReVolution,
1996, left to right: Andrea Fraser, Jessica Chalmers, Marianne Weems, Erin Cramer, Martha Baer, EA–Generali Foundation, Vienna. Photo: Werner Kaligofsky. Courtesy of Andrea Fraser.

Act III, Scene 7

Grayson Perry,
The Rosetta Vase
, 2011, glazed ceramic, height: 30-7/8 inches, diameter: 16-1/8 inches. Courtesy of the artist.

Act III, Scene 8

Yayoi Kusama,
Obliteration of My LIfe
, 2011, acrylic on canvas, 130.3 × 162.0 cm. Courtesy of Yayoi Kusama Studio Inc., Ota Fine Arts, Tokyo/Singapore, and Victoria Miro Gallery, London.

Act III, Scene 9

Damien Hirst, installation shot of room 13 of the retrospective at Tate Modern, including:
The Kingdom
, 2008, shark, glass, stainless steel, and formaldehyde solution, 2140 x 3836 x 1418 mm. And
Judgement Day
, 2009, gold-plated cabinet, glass, and manufactured diamonds, 240.3 x 874.3 x 10.2 cm. © Damien Hirst and Science Ltd. All rights reserved, DACS 2014. Image: Prudence Cuming Associates Ltd. Funds for illustration donated by Sotheby’s.

Act III, Scene 11

Gabriel Orozco,
River Stones
in progress at the artist’s home in Mexico City, 2013. Courtesy of the artist.

Act III, Scene 12

Beatriz Milhazes,
Flores e árvores (Flowers and Trees)
, 2012–13, acrylic on canvas, 180 × 250 cm. Photo: Manuel Águas & Pepe Schettino. Courtesy of Beatriz Milhazes Studio.

Act III, Scene 13

Andrea Fraser,
Art Must Hang
, 2001, video installation (335 × 244 cm) with paintings (oil, graphite on canvas, approx. 65 × 65 cm) and aluminum disks, running time 30 minutes. Collection Museum Ludwig, Cologne. Photo: Rheinisches Bildarchiv / Museum Ludwig / Britta Schlier. Courtesy of the artist and Galerie Nagel–Draxler.

Act III, Scene 14

Isaac Julien, photograph from the set of
PLAYTIME
, 2013, double projection on single-screen high-definition video installation, 7.1 surround sound,
running time: 66'57". Courtesy of the artist, Metro Pictures, New York, Victoria Miro Gallery, London, Galería Helga de Alvear, Madrid, and Roslyn Oxley9, Sydney.

Act III, Scene 15

Damien Hirst, installation shot of rotunda in Hirst retrospective overseen by Qatar Museum Authority in Doha.
For the Love of God
, 2007, platinum, diamonds, and human teeth, 6.75 x 5 x 7.5 inches.
For Heaven’s Sake
, 2008, platinum, pink and white diamonds, 3.35 x 3.35 x 3.94 inches.
Leviathan
2006–2013, glass, painted stainless steel, fiberglass, silicone, stainless steel, plastic, monofilament, shark, and formaldehyde solution, 115.3 x 409.2 x 102.1 inches. © Damien Hirst and Science Ltd. All rights reserved, DACS 2014. Image: Prudence Cuming Associates Ltd. Funds for illustration donated by Sotheby’s.

Act III, Scene 16

Andrea Fraser,
Projection,
2008, two-channel video installation. Courtesy of the artist and Galerie Nagel–Draxler.

INDEX

Page numbers listed correspond to the print edition of this book. You can use your device’s search function to locate particular terms in the text.

Page numbers in
italics
refer to photos and illustrations.

Aarnio ball chairs, 122

abayas
, 77

Abbas, Ackbar, 9–10

Abramovi
, Marina,
286
, 287–92, 306, 376

Abstract Expressionism, 69, 157, 221, 234, 295, 314

Abu Dhabi art fair, 77–78

Abyss, The
(Hirst), 370

academics:

artists as, xiv, 63

contempt for, 10

acceptance:

art as, 6, 7, 16, 108

family and, 120–21

“According to what . . .” exhibition (Ai Weiwei), 86

Achrome
paintings (Manzoni), 152

“actions,” 163–64

actors, 239

artists as, 7, 133–37, 141–42, 144, 193, 207, 240–41, 249, 275–77, 297

homage to, 280

professional and non-professional, 354–59

Actual Photos, The
(Simmons), 250

Adams, Craig Daniel, 354

advertising, 5

aesthetics, 4, 191, 307, 339–40