Artists in Love:

artists love from pic a sso

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g i lot

in

to

a c e n t u ry o f c r e at i v e

c h r i s to

and

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j e a n n e - c l au d e

r o m a n t i c pa r t n e r s h i p s

by veronica kavass

artists in love from pic a sso

&

g i lot

to

a c e n t u ry o f c r e at i v e

c h r i s to

and

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j e a n n e - c l au d e

r o m a n t i c pa r t n e r s h i p s

by vero n i ca kava ss For centuries, great artists have been drawn together in friendship and in love. In Artists in Love, curator and writer Veronica Kavass delves into the passionate and creative underpinnings of the art world’s most provocative romances. From Robert and Sonia Delaunay to Gilbert & George, Kavass’ intimate and daring text provides a generous glimpse into the inspiring and sometimes tempestuous relationships between celebrated artists throughout the 20th and 21st centuries.

From poetic beginnings to shocking endings (and vice-versa), the various dimensions of the artist couple archetypes are ceaselessly explored. Some are enduring and collaborative, yielding astonishing parallel bodies of work, as with Ben Nicholson and Barbara Hepworth and Christo and Jeanne-Claude. Others are adoring and explosive, such as Frida Kahlo and Diego Rivera and Lee Miller and Man Ray. Essays revealing what compelled these dynamic artists to partner, how their pairing influenced their work, and why their love may have faltered or endured, are accompanied by lush illustrations of their art and documentary photographs of the couple.

The first major visual book to explore this subject in such epic scope, Artists in Love is a revelatory and riveting journey into the hearts and minds of our greatest artist couples.

140 illustrations of which 100 are in full-color

Couples featured in

Artists in Love Camille Claudel & Auguste Rodin

Eva Hesse & Tom Doyle

Wassily Kandinsky & Gabriele Münter

Robert & Sylvia Plimack Mangold

Robert & Sonia Delaunay

Robert Smithson & Nancy Holt

Alfred Stieglitz & Georgia O’Keeffe

Niki de Saint Phalle & Jean Tinguely

Jean Arp & Sophie Taeuber-Arp

Gilbert Proesch & George Passmore

Anni & Josef Albers

Christian Boltanski & Annette Messagar

Frida Kahlo & Diego Rivera

Marina Abramović & Ulay

Lee Miller & Man Ray

Claes Oldenburg & Coosje van Bruggen

Philip Guston & Musa McKim

Eric Fischl & April Gornik

Barbara Hepworth & Ben Nicholson

Ana Mendieta & Carl Andre

Elaine & Willem de Kooning

Carroll Dunham & Laurie Simmons

Pablo Picasso & Françoise Gilot

Bruce Nauman & Susan Rothenberg

Jackson Pollock & Lee Krasner

Ilya & Emilia Kabakov

Dorothea Tanning & Max Ernst

Farhad Moshiri & Shirin Aliabadi

Nancy Spero & Leon Golub

Ai Weiwei & Lu Qing

Wallace Berman & Shirley Moran

Subodh Gupta & Bharti Kher

Jasper Johns & Robert Rauschenberg

Jennifer Allora & Guillermo Calzadilla

Robert Motherwell & Helen Frankenthaler

RongRong & Inri

Christo & Jeanne-Claude

Wade Guyton & Kelley Walker

Bernd & Hilla Becher

Rashid Johnson & Sheree Hovsepian

Frida

Kahlo & rivera diego

“

Choosing young Kahlo

the elephant and the dove

to be his bride was

In letters to loved ones in Mexico, Frida Kahlo rapidly un-

a jackpot move. Her

raveled her impressions of the United States as an indulgent, clueless, and

maternal, notwithstanding tempestuous, presence in Rivera’s life indubitably

”

advanced him.

vulgar place—specifically a porqueria or a cochinada. She’d include tiny macabre self-portraits under her affectionate sign-off. As a new obedient bride in 1929, she accompanied her gringo-sensationalized husband Diego Rivera while he brought his politically revolutionary art to America’s mother cities.

Fascinated with aesthetics of American industry, mass production, assembly lines, gargantuan machinery—Rivera, the proud communist, approached the journey as though he were walking into the belly of the beast. When he stepped off the ship like a genius bulldozer with springs popping out of his

Diego Rivera.

Dream of a Sunday Afternoon in Alameda Park (detail), 1947–1948.

Fresco, 50' x 13' This epic mural portrays the entire history of Mexico, from the Aztec era to the revolution of 1910. Amongst a number of key historical characters presented is la Dame Catrina and Quertzalcoatl, painted in the likeness of Rivera (as a mischievous little boy) and Kahlo, who is poised above him with her hand resting maternally on his shoulder. Her expression is all-knowing and she holds a Ying-Yang, the ancient symbol for duality.The mural was completed nearly 20 years into their relationship, when Rivera temporarily divorced Kahlo to be with actress Maria Felix.

Excerpted from the book, Artists in Love

back, Kahlo stood firm at his side. Rivera rubbed his rich boy’s workers hands together and embarked on, what the Americans like to call “taking the world by storm.”

In San Francisco Kahlo wrapped her fingers tightly around her paintbrush.

She was inspired by newness—not based on exploring an unfamiliar place but on discovering a different shade of longing than the one she had experienced as a bed-ridden child in Mexico. Though in each place she recognized she was trapped, and felt an infuriatingly inaccessible sense of purpose surrounding her. She possessed a closer relationship to her potential death than an ongoing life. Through painting, she confirmed the walls of her imprisonment, her own body a creaky cabinet of curiosities that kept pace with the thundering elephantine feet of her lover. To others, her paintings were analogous to her long swishing skirts that gave her an air of freedom, like she could float off at any moment—when in reality the skirt existed to keep her sickly leg ensconced.

Frida Kahlo.

Self-portrait as a Tehuana, 1943.

Oil on masonite, 24" x 24" Kahlo started working on this self-portrait a few months after Rivera filed for a divorce in 1939. She is clothed in a Tehauna dress as homage to Rivera’s admiration for traditional Mexican costumes. It was not uncommon for Kahlo to include a third eye in her selfportraits—in this case she positions Rivera’s face as the third eye to refer to her obsessive suffering surrounding his constant infidelity.

In this portrait she reveals she could not take him off her mind. The Tehauna gown expands into a spider web, depicting Rivera as trapped inside of her. It took four years to complete the painting while the divorce only lasted a year.

In New York she encountered frequent lulls filled with restless sighing and occasional canvas-stabbing. Bibulous companions observed it as melodramatic self-criticism or an attempt to throw a wrench in her ongoing—albeit neverending—social reality of being the wife of a truly great artist. But Kahlo could feel the presence of something growing, something potentially larger than the 300-pound Rivera.

Rivera was the second artist, following Henri Matisse, to have a solo show at MoMA in New York. Originally from Guanajuato, a Mexican town known for tragic love stories and, consequentially, opera, he was sensual and seductive even as a young boy. He would reach for what he wanted and run his hands over paint, walls—and the curves of every reachable woman. Art being a game, he was a master gambler. Drunk with the romanticist ideals of the communist manifesto, he trusted his people and his gut. Many of his decisions were clever, but choosing young Kahlo to be his bride was a jackpot move. Her maternal, notwithstanding tempestuous, presence in his life indubitably advanced him.

“

Impervious to his affairs, even the one

with her own sister, eventually Kahlo started to see

”

her husband as a compañero, her inner eye...

Kahlo loved Rivera’s physique. Once describing his chest to a journalist, she said wistfully, “I would say that if he had disembarked on the island governed by Sappho, he would not have been executed by her warriors. The sensitivity of his breasts would have made him acceptable. His peculiar and strange virility would make him desirable in the territories ruled by empresses eager for masculine love.” But if their marriage was the fulcrum of Kahlo’s life, leaning towards her own art meant letting Rivera continue to be groped and coddled in a sea of willing empresses—and watching him get carried away from her.

Time, which is crucial in healing the lacerated bond between true lovers, lovers who are incapable of loving others, solved this issue for Kahlo and Rivera. After many flings, tears, and her elevated status as a worldly artist, and— to Kahlo’s eye-roll—a Surrealist painter, she established a stronger relationship with Rivera. Impervious to his affairs, even the one with her own sister, eventually she started to see her husband, whom she married twice, as a compañero, her inner eye, and an artist whose talents matched her own.

man

ray& miller

lee

“

In the dark room, they stood side by side,

Ray breathing deeply, Miller concertedly calm.

”

Until a mouse ran over her foot and she gasped...

The Eye and the Lip A nineteen-year-old Lee Miller stopped Man Ray in Paris just

as he was about to flee the sweltering metropolis for the coast. Few introductory words were exchanged but language disintegrated quickly. After joining him on his vacation, Miller settled in Ray’s nest on 31 bis rue Campagne-Premiere. She did everything he asked her to do: Bend over this way, now that. The early lessons were effortless for her, a continuation of what she had done with her photographer father in Poughkeepsie as a teenage girl. Miller trusted Ray’s photographic dissection of her body, his inclination to present her as a phallus, his way of reducing her to a pair of slightly opened lips.

When she graduated to the level of going off on her own with the camera, she’d float along the gray streets of Paris, studying the edges of shattered glass and ripped window screens. She took an assignment in a

Excerpted from the book, Artists in Love

left, Man Ray. Portrait of Lee Miller, c. 1934 Gelatin silver print

hospital where she found a severed breast left over from a mastectomy. She

right, Lee Miller.

Portrait of Man Ray, 1931 Gelatin silver print

tance. “Ready for dinner?” she asked the editor, and she snapped one of her

brought it to the French Vogue magazine quarters and set it on a plate with a fork and knife on either side, salt and pepper shakers within reaching disiconic surrealist contributions.

Sprawled over the pile of threadbare oriental rugs amongst strewn chess pieces, she slept in Ray’s home while he crept around her and snapped pictures. In the morning she’d tower over him in the kitchen. As she slowly drank coffee and worked, Ray couldn’t find an elegant way to get out of her shadow, so he gradually settled into it. They worked together on his commissioned portrait assignments. In the dark room, they stood side by side, Ray breathing deeply, Miller concertedly calm. Until that one fateful day when a mouse ran over her foot and she gasped. She rushed to switch on a light

Man Ray. Observatory Time—the Lovers, 1934 Oil on canvas, 100 x 250.4 cm Ray’s favorite time to photograph Miller was when she was asleep with her lips slightly parted. Especially after their disagreeable split, Ray found her lips to be the hypnotic signature of the most romantic and erotic era in his life. In 1934, after she moved back to New York, he painted a portrait of them floating in the sky and called it Observatory Time—the Lovers. He positioned them as the wallpaper for a series of photographs in the 1930s.

“

Miller trusted Ray’s photographic dissection of her body, his inclination to present her as a phallus, his way of

”

reducing her to a pair of slightly opened lips.

while the twelve Suzy Solidor nudes were developing. An accident, that they labeled solarization, transferred black into white and white into black, creating a peculiar and alluring outline of a figure. Duchamp was the next to be solarized and then Ray conducted a series of “dream anatomies.” This was a process Ray learned he could not control, analogous to the way he couldn’t get out of Miller’s shadow.

The later lessons were impossible for her: Tell me the truth. Don’t leave me.

Ray claimed his sovereignty over her identity as she scooted off across the Atlantic to be a star in New York. The “Man Ray branch of photography,” she called her studio. He could hardly believe her audacity. She went on to publicly advise others on how to learn from the greats. “Absorb him,” she said.

Fifteen years later Miller would collapse in Hitler’s bed after conducting war coverage for Vogue. Her blue eyes closed, her blond hair crimping up against the pillow—who better to slumber in the deceased führer’s bed than the aryan woman of his dreams? And one wonders what the former surrealist muse dreamt about that night. Ray was not there to capture her expressions in her sleep, and surrealism had already well faded out of the limelight.

“

The besotted, insatiable Stieglitz seemed

compelled to photograph his lover inch by inch

”

and moment by moment.

georgia

o’keeffe& stieglitz alfred

The hungry and the starved In 1915 a bespectacled, disquieted Alfred Stieglitz sat alone

in his “291” gallery space and pondered his next step as New York City’s leading intellectual pundit. He had spread himself thin as an artist, dealer, editor, and proselytizer—a combination which resulted in a lack of funds and an irritating buzz in his head. He made audacious decisions, i.e. turning on his own artistic medium to celebrate the modernist paintings of Picasso and Matisse for being “anti-photography.” Curating painting shows allowed him to tiptoe around the central infuriating concern of his own work. He found that he could ensconce his psychological self-flagellation by “selflessly” promoting the work of others. After visiting his gallery, Georgia O’Keeffe wrote her good friend from South Carolina: “I believe I would rather have Stiegltiz like something—anything I’ve done...than anyone else I know of...” And it was upon sight of her charcoal drawings, spread out by said friend on the floor before him, that he ceased pondering his next step, clasped his hands together in excitement and uttered the words “Woman Pictures!”

What Stieglitz deduced from O’Keeffe’s drawings that day ushered in the challenge she would face for the rest of her blossoming career. His contrived Georgia O'Keeffe and Alfred Stieglitz at his family estate in Lake George, New York, c. 1920s.

Excerpted from the book, Artists in Love

interpretation of Specials (which was her title for the series) was sensationalized amongst intellectuals when he hung the drawings on the gallery walls— without asking her permission. He put her on a display the way a scientist

Alfred Stieglitz.

Georgia O’Keeffe, 1919 Palladium print, 18.2 x 23.1 cm

reveals an exotic creature in a pen for other experts to stare at while scratching

When Stieglitz and O’Keeffe began their affair in 1916, he took daily nude photographs of her. At the time, especially considering he was married and she was single, this was considerably scandalous. The subject, process, and result inspired him to take over 300 photographs of O’Keeffe in the course of two decades. The early photographs discluded her face and focused on her anatomy.

In this particular photograph, his two favorite features of her body are juxtaposed—her hands and bare chest.

straction was undeniable—the “puckers and folds within the shape and its sheer

their chins. He pointed at the works and claimed, “Behold, the woman! The woman feels the world through her womb.” The association with anatomical abvisual weight and centrality invite us to make it over into a body part.” But the emphasis on the psychoanalytic approach and the title Woman Pictures made her feel pigeonholed. She traveled to New York City to ask in person who gave him permission to hang her pictures. Stieglitz slyly replied no one. “Take them down! They are mine!” she demanded. Upon which he replied, “You have no more right to withhold these pictures than to withdraw a child from the world, had you given birth to one.” To this, she responded by staring at him without flinching, her eyes burning into his being. His mouth formed a smile under his thick mustache. A year later they embarked on a feverish love affair.

The clouds parted for Stieglitz. He—the first photographer in the world to capture the night—blew the dust off his camera and obsessed over his new

“

The painting Music, Pink and Blue No. 2—

a reference to her love of music—was a very possible indication she wanted a child, and a clear prelude

”

to her long-running flower portraits.

subject. “Steiglitz’s Portrait of O’Keeffe—a series of more than 300 hundred photographs—was made over a period of two decades, but most of the individual pictures were made in the first years of their affair, when the besotted, insatiable Stieglitz seemed compelled to photograph his lover inch by inch and moment by moment.” Everything that was supposed to matter at that time lost gravity—their twenty-three age difference, Stieglitz’s marriage to another woman, O’Keeffe’s disregard for societal mores, their unabashed sexuality. Many of the nude photographs he took of her during this idyll exposed her as headless—closeups of her breasts, her hands.

Should it come as a surprise that during his worship of her femininity she would want a child? When she brought it up early in the midst of their affair, he acted shocked. “But your art is your child!” It is hard not to imagine her stretched out figure recoiling at this remark. Regardless, she was so blissfully in love at that time, initial rejection of the idea didn’t dissuade her. She traded her charcoals in for watercolors and experimented with moody tones (fuchsia and blue). Music, Pink and Blue No. 2—a reference to her love of music, was a very possible indication she wanted a child, and a clear prelude to her longrunning flower portraits.

The lust, of course, faded. Although O’Keeffe was a continuous portrait subject throughout their life together, Stieglitz spent less time looking at her Georgia O’Keeffe.

Music, Pink and Blue No. 2, 1918 Oil on canvas, 35" × 29⁄1 8" Music, Pink and Blue No. 2 is one of O’Keeffe’s early abstract paintings. She found her particular mastery of composing flowing lines took on a new life form when she transitioned from charcoal to watercolor. Her intensely physical relationship with Alfred Stieglitz at the time probably influenced the increased swell and mood in her work. This was painted during a time when she was expressing great interest in having a child. Her love of music and Stieglitz, and her maternal longing are channeled into this piece—one of her early “orifices.” Following this painting, she would engage in a steady series of abstract paintings of magnified flowers.

and more time relating to clouds. He found a new solace in resting supine on the hill at his family’s estate at Lake George, pointing his lens to the heavens.

“These are my spiritual equivalents,” he would tell his audience. Eventually a new young thing emerged from his listeners—Dorothy Norman, a twenty-oneyear-old bride. There is no record of O’Keeffe fretting over this (she was not a fretting type). Rather it presented her with an opportunity to search for a new sacred place—the dry desert of New Mexico. They wrote one another letters— Stieglitz, sounding like a boy without his mother, begged for her to return. As a response, she pleaded with him to let her stay. As he aged, her absence created a painful void in his life. For O’Keeffe, like everything in her new southwestern landscape, Stieglitz became a distant form, something she had to squint to see off in the distance. She had always absorbed the space between them, between birth and death, entrances and exits.

christo & claude jeanne-

An Eagle with Two Heads Christo and Jeanne-Claude were both born on June 13, 1935—

the year Amelia Earhart became the first person to fly solo from Hawaii to California and airplanes were banned from flying over the White House, when Persia was renamed Iran and an earthquake hit Pakistan killing 40,000 people, when the Nuremberg Laws went into effect in Germany. The planet, gaining velocity, released whispers that foreshadowed the plangent reality to come. One in Bulgaria, the other in Morocco, two newborns delivered on the same month—dare I mention, a day astrologically associated with twins— seemed to have their ears to the ground, already mentally stripping away a Christo and Jeanne-Claude.

Wrapped Portrait of Jeanne-Claude, 1963 30⁄7 8" x 20⁄1 8" x 2"

membrane of convention that would separate them from the societal automa-

This wrapped portrait of Jeanne-Claude was made in two stages—at the time of the painting, and at the time it was wrapped.

The portrait was likely made shortly after Christo met Jeanne-Claude in her family’s Parisian home in the late 1950s, when he was the family portrait artist. He had fallen in love with her while painting her likeness despite his distaste for painting as an artist profession. The piece is dated 1963, the year Christo wrapped the portrait (hence designating its official status as a work of art).

Macedonian heritage and, for a short time, found a sense of “home” while

ton-behavior they would defy as an artist couple.

As a child of the Word War II era, Christo had been torn away from his huddled with his family in a basement in Gabrovo, Bulgaria. Possessing an obvious talent in art as a teenager qualified him to study in the art academy in Sofia. Witnessing the ruin and abandon of a country that erased and rewrote its borders and laws became the infrastructure of Christo’s artist mentality. It also pushed him to migrate westward and join the postwar tribe of displaced people.

The morning Christo met Jeanne-Claude in 1958 she had dark circles under her big blue eyes from her late night partying. He was painting a portrait of her high society mother Precilda in their Parisian flat. Upon first interaction, Jeanne-Claude wore her vanity on her sleeve and dismissed Christo with a polite snort. Her childhood spent as a neglected little girl in Northern Africa had been well disguised by her teenage years galloping through the desert on her magnificent horse and the daily line of suitors—a few of the

Excerpted from the book, Artists in Love

“

She became the final

layer that sealed each work for its temporary albeit

unforgettable existence.

Without Jeanne-Claude, Christo would never have

”

become Christo.

Christo and Jeanne-Claude, New York, 1964.

luxuries that came with a new wealthy and generous stepfather. The cloud of adoration that attached itself to her twist of fate made it hard for her to see she was meeting the love of her life that day. In later years, after living and working as an internationally recognized duo—held together by indestructible admiration and amusement with one another—she’d be known for saying that her life started the day she met Christo.

Their early life as a couple in Paris met several distinct challenges. While Jeanne-Claude’s family—the Guillebons—were charmed by Christo’s presence as the family portrait painter, they did not want him to bear their next of kin.

But Jeanne-Claude discovered she was pregnant with his son Cyril while she was on a lackluster honeymoon with a family-approved husband. Naturally, once the scandal came out in the open, the family exiled Christo and JeanneClaude from their lives.

Christo’s real work—which he called Inventory—initially rose out of collecting discarded materials from painting and, eventually, extended to a wide assortment of everyday objects (including Jeanne-Claude’s clothes). These

Christo and Jeanne-Claude.

Wrapped Coast, 1968-69 One million square feet Little Bay, Sydney, Australia In 1968, Australia granted Christo and JeanneClaude 35 miles of jagged coastline south of Sydney to wrap in white fabric. For the artist duo who started their career building walls with discarded oil barrels, this was a game changer in terms of a “canvas” to work with. Financing the entire project with sales of Christo’s numerous illustrated proposals for Wrapped Coast, they assembled a team which included fifteen professional mountain climbers lead by a retired army corps engineer. In 17,000 hours they fastened a million square feet of eco-friendly fabric to the rocks with Ramset guns. When they completed it, shimmering white fabric ballooned off the bay, altering the landscape every second, for ten weeks straight.

phenomena had been inaugurated decades earlier by Marcel Duchamp and continued by artists like Robert Rauschenberg—but Christo put his distinct signature on found objects by wrapping them in plastic or fabric. “Christo seemed to be guided by the will to alter or destroy everyday appearances.

Rather than adhering to the uninspiring nature of an object, he overcame its predictability. The simple gesture of wrapping brought the identity of an object into question.”

Jeanne-Claude’s reaction to this was the real test of their relationship— because to love the man involved understanding how he worked. It was clearly a challenge to live with an artist who would spend an entire night lugging empty oil barrels up five flights of stairs to store in their tiny apartment. But not only did she understand him, she starting offering an aspect to the equation that allowed for found cans to be replaced by medieval castle towers and miles of Australian cliff tops. She became the final layer that sealed each work for its temporary albeit unforgettable existence. Without Jeanne-Claude, Christo would never have become Christo.

VERONICA KAVASS’s professional experience in the art world ranges from curating exhibitions in numerous galleries in London and New York, and museums, such as Cheekwood in Nashville, TN; to working internationally with the Tate Modern and 52nd Venice Bienniale; to running an artist’s residency in the Hudson River Valley, NY; to creating libraries for art advisors and collectors; to writing about artists and art happenings throughout the world, and reviewing major exhibitions for various publications, such as Kiki Smith at SFMOMA. She holds a master’s in curatorial practice and critical writing from Chelsea College of Art in London, and has trained as an oral historian through her work with StoryCorps. Her first book, The Last Good War: The Faces and Voices of WWII, was a powerful chronicle of American veterans’ experiences during the war, and was a recipient of ForeWord Review’s Non-Fiction Book of the Year Award. She currently lives between New York City and Nashville where she curates frequently, and writes about art for the newspaper The Nashville Scene.

276 pages, 10" x 13" Hardcover, $65.00 ($65.00 can) ISBN: 978-1-59962-113-5 On Sale: October 2012 ART Edited by Katrina Fried Designed by Kristen Sasamoto Welcome Books® An imprint of Welcome Enterprises, Inc. 6 West 18th Street, New York, NY 10011 tel: (212) 989-3200; fax: (212) 989-3205 www.welcomebooks.com To place orders in the U.S. please contact your local Random House sales representative, or call Random House customer service, toll-free: (800) 733-3000. Eastern and Central accounts: Monday–Friday, 8:30am–5:00pm (EST); Western accounts: Monday–Friday, 9:00am– 6:00pm (EST) To place orders in Canada, contact your local Random House sales representative, or call (888) 523-9292, Monday–Friday, 8:30am–5:00pm (EST).

Copyright © 2012 Welcome Enterprises, Inc. Cover image: Wrapped Portrait of Jeanne-Claude copyright © Christo 1963.

This is an uncorrected proof.

Printed in the USA

C amille Cl audel & Auguste Rodin Taeub er-Arp Alb er s

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Je an arp & Sophie

Frida K ahlo & Diego River a

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Anni & Josef

Wa ssily K andinsk y & Gab riele Münter

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Stieglitz & Georgia O’Keeffe

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Lee Miller & Man R ay

Alfred •

Philip

Guston & Musa McKIm • Barbar a Hepworth & B en Nichol son •

El aine & Willem de Kooning

G ilot

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Pab lo Pic a sso & Fr ançoise

Ja sper Joh ns & Rob ert R ausch en b erg

Pollock & Lee Kr a sner

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Jack son

Dorothe a Tanning & Ma x Ernst

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Nanc y Spero & Leon Golub Mor an

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Wall ace B erman & Shirley

Rob ert Motherwell & Helen Fr ankenthaler

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Christo & Jeanne-Cl aude & Tom Doyle

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Bernd & Hill a Becher

& G eorg e Messagar

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Eva Hesse •

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Gilbert Proesch

C h r i s t i a n B o lta n s k i & A n n e t t e

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Marina Ab r amović & Ul ay

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Cl aes Oldenb urg

Eric Fischl & April Gornik

Ana

& Coosje van Bruggen

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Mendieta & Carl Andre

Carroll Dunham & Laurie Simmons

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Niki de Saint Phalle &

robert & sonia Delaunay

Pa s s m o r e •

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Rob ert Plimack & Sylvia Plim ack Mangold

R o b e r t S m i t h s o n & N a n c y H o lt Jean Tinguely

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Bruce Nauman & Susan Rothenberg

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Ilya & Emilia K abakov

Farhad Moshiri & Shirin Aliabadi

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Ai Weiwei & Lu Qing

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Subodh

G u p ta

&

B harti

Guillermo C al z adill a

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Kher

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Jennifer

A l lo r a

Wade Guy ton & Kelley Walker

R ashid Johnson & Sheree Hovsepian

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& •

RongRong & Inri