Table, Robber Baron, (2007)
Immagini Della Realta (1977-3)
Five Easy Pieces (4)
The Face
Excerpt from Course de la vie (Curriculum Vitae)
Florida International School of Architecture (2003) - Photograph copyright of Peter Mauss/Esto
Flat Globe Above New York, 2006
Hellhound Rodeo
DTI Brain Rendering
Of How We Have to Leave Doubts, Expectations and the Unachieved
One Hundred Love Sonnets: XVII
Ant Eye (20x), by Noah Fram-Schwartz (2014)
Forest
The Annunciation (1506)
The Gates, Central Park, New York City (1979-2005)
The Three Candles (1938-40)
Grieving Narcissus
Lose/Lose
Mad Song
Excerpt from "Where The Two Came To Their Father: Navajo War Ceremonial"
Untitled
You’ll Return Tomorrow, Won’t You? (Translated from Estonian by H.L. Hix)
Punch and Judy II Birth & Life & Sex & Death, (1985)
Cira (2006)
Betrothal of the Virgins, (2009)
Midnight Continuous
Cuts: A Traditional Sculpture
From Lindsey's Room, Louisville (1966), Excerpted from "The Bikeriders"
...and to draw a bright white line with light (Untitled 11.10) 2011
Louise Fletcher as "Nurse Ratchet" in ONE FLEW OVER THE CUCKOO'S NEST
Pirelli Calendar (2004)
Interference III, (2012)
I knew something was wrong
Spiraling (The Blood of a Poet) No.9 (2006)
Fall 2
Wanderlust
Mixed Topics, Personal Grievances (80)
Power Animal System: Wolfdogmoon
Hand from Above - Tokyo
Six Marimbas
Not..., 1998
Broadcast in Australia
Ver Sacrum
Yvonne Rainer's choreography (1972) Valda Looking at Yvonne in the Box
Lines (1969)
New York (2000)
Fly Billboard (1996)
Eros
Tuesday March 5th, 1968 : John Cage and Marcel Duchamp performed "Reunion" at the Ryerson Theatre in Toronto
Casablanca (1)
Untitled
Broadcast Excerpt (4)
Untitled (2001)
Serpentine Pavilion (2015)
Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY 10011, USA (detail) 2011-2014
@jennyholzer
'Although I was already aware that George and I had a mutual respect for each other's work, I didn't know him in person until 1957. I met him at an opening of one of his exhibitions, where I was shocked to see him posing in front of one of his drawings. Afterwards, I told him that I felt the whole scene to be a fundamentally inartistic charade. George answered that he had always been present in his work, and that for him there were no strict boundaries between the universal and the individual. And then he added that there was immense beauty in vanity, and I believed him. I could read the man in his work.' (2011)
#25 (1967)
The Burning Kite
