In its graphic imagery and allusion to religious symbolism, Wojnarowicz's work can often be disturbing.
During the Culture Wars of the 1990s, it was a frequent target of critics.
The picture was taken at the Mall in Washington DC.
The panels are made by friends and families that used to be a source of pleasure.
Reflecting on a loved one who died of AIDS.
She points out that the societal 1,920 panels were displayed on the National Mall in Washington in 1987 in order to make the public aware of the scale of the epidemic.
Acceptance of research and education will prevent its spread.
The project was nominated for a peace prize in 1989.
The quilt includes 48,000 panels in remembrance voice to female experience by representing taboo subjects of over 94,000 individuals, and it is still growing.
Smith calls attention to the body that NAMES Project Foundation, an international nonprofit cannot be controlled and asks us to consider the impact of organization.
The female and male figures are on metal stands.
Two tanks at 45 x 661/2 x 245/8'' are made of glass, paintedstainless steel, silicone, acrylic, monofilament, and STAINLESS steel.
The photo was taken by Prudence Cuming.
The cremaster muscle, its sensationalism, is the object that speaks to the persistent for which the series is named, and controls the ascent and interest in death and philosophical questions involving descent of the testes, usually in response to changes in mortality and spiritual existence.
He works in response to fear and sexual arousal.
The embryo was bisected by Hirst.
Barney used a diagrammatic representation of gitudinally the bodies of a cow and her calf and displayed the cremaster muscle as his visual emblem throughout them in glass cases filled with formaldehyde solution.
Each film has its own narrative and catalog, but here viewers can walk around and see the cases.
The artist Richard Serra is the architect of the Chrysler Building in New York and the animals look amazingly realistic from the outside.
The Solomon R. Guggenheim Museum in New York is where Barney, Serra's apprentice, flesh on the "inside" sides of their bones, muscles, and organs.
In Chris ter, he plays on the artplish a series of tasks to assert his supremacy over the mas historical theme of the mother and child.
To complete a tian tradition, Barney scales the walls of the rotunda to symbolize the union of earthly and spiri task on each level before gaining enlightenment.
A series of films entitled "The Cremaster Cycle" were ated by cre throwing molten wax down the museum's ramp in a nod to the sculptor's famous casting of process-based which he developed an arcane sexual mythology.
The epic plot is complex and enigmatic and the settings and costumes are lavish.
The extravagant work seems to refer to a crisis among white, middle-class, heterosexual male artists in an era exploring difference and identity.
He first learned about Pop Art and Fluxus after moving to West Germany in 1961.
Although he identifies as a painter, his work's underlying conceptualism characterizes much painting of the contemporary period.
Richter has worked in both abstract and representational styles throughout his career, often using photographic sources as the basis for his work.
Three members of the Red Army Faction, an anti capitalist terrorist group, were found dead in their prison cells in 1977 and were the subject of a 1988 series by Richter.
There were suspicions that the German government was responsible for the deaths.
The blurry black-and-white photographs that appeared in the press are reproduced in life-size paintings by Richter.
Chris Winget's photo is almost invisible.
The oil on canvas is 100 x 140 cm.
The Sidney andHarriet Janis Collection, gift of Philip Johnson, was acquired through the Bequest.
The lightbox has transparency in it.
The Mar nineteenth-century history paintings are playing on the irony of the development's name.
Three well-dressed African-American men are depicted as brilliantly colored transparencies mounted in light tending a garden of manicured topiary, flowerbeds, and boxes--a format used in advertising that also recalls the cellophane-wrapped Easter baskets before the high-rise cinema.
He designs buildings in the background like a movie director.
The painting includes other ing sets and posing actors to photograph, then digitally biting elements, including the red ribbon at the top with combining multiple images to create the final transparancy.
There are two blue taking the photographs.
The work on Ellison's birds is similar to the work on Disney's cartoons, with a light 1951 novel about a young African-American man who wants to find recognition in a racially divided society.
Marshall's tor explains that he retreated to an underground cellar to write his story because of the lit triangular composition.
Julie Mehretu was born in Ethiopia.
Marshall's series of five paintings were based on public housing.
The paper is mounted on a canvas.
Her highly finished paintings were made from address themes of national identity, commerce, and conflict.
A smooth, waxy-looking surface is suggested by colorful geometric shapes.
Working on and banners denoting cultural and team alliances, and a monumental scale, Mehretu employs a rich vocabulary superimposed graphic elements unify the composition from sources that include architectural drawings, maps, while also contributing dynamism and a sense of chaos.
His emphasis on technique reflects the ideas of Process art.