Richard Serra. The Matter of Time. 2005.Installation of seven sculptures, weatherproof steel, varying dimensions.Guggenheim Bilbao Museoa, GBM 1996-2005. Photograph by Erika Barahona Ede ©

The Solomon R. Guggenheim Foundation, New York. Art © 2012 Richard Serra/Artists Rights Society (ARS), New York. [Fig. 13-1]

Senwosret I led by Atum to Amun-Re, from the White Chapel at Karnak, Thebes.

c. 1930 BCE.Limestone. raised relief, height 13 ft. 6 in.

Scala / Art Resource, NY. [Fig. 13-2]

Maidens and Stewards, fragment of the Panathenaic Procession, from the east frieze of the Parthenon, Acropolis, Athens. 447–438 BCE.

Marble. height approximately 43 in.Louvre, Paris, France / Giraudon / The Bridgeman Art Library. [Fig. 13-3]

Yu the Great Taming the Waters, detail. Qing dynasty, completed 1787.Jade. height 7 ft. 4-1/4 in. × 3 ft. 1-3/4 in.

Collection of The Palace Museum, Beijing. [Fig. 13-4a]

Yu the Great Taming the Waters. Qing dynasty, completed 1787.Jade. height 7 ft. 4-1/4 in. × 3 ft. 1-3/4 in.

Collection of The Palace Museum, Beijing. [Fig. 13-4b]

Giambologna. Capture of the Sabine Women (view 1 of 2). completed 1583.Marble. height 13 ft. 6 in.

Scala / Art Resource, NY. [Fig. 13-5]

Giambologna. Capture of the Sabine Women (view 2 of 2). completed 1584.Marble. height 13 ft. 6 in.

Canali Photobank, Milan, Italy. [Fig. 13-6]

Michelangelo. “Atlas“ Slave. c. 1513–20.Marble. 9 ft. 2 in.

Nimatallah/Art Resource, N.Y. [Fig. 13-7]

Patrocinio Barela. Nativity. c. 1966.Juniper wood. height of tallest figure 33 in.

Peabody Essex Museum, Salem, Massachusetts. Courtesty of the artist. [Fig. 13-8]

Menkaure with a Woman, probably Khamerernebty, from valley temple of Menkaure, Giza. Dynasty 4, ca. 2460 BCE.

Schist. height 54-1/2 in.Museum of Fine Arts, Boston. Harvard University—Boston Museum of Fine Arts Expedition. 11.1738. Photograph © 2012 Museum of Fine Arts, Boston. [Fig.

13-9]

Kouros (also known as the Kritios Boy). c. 480 BCE.Marble. height 36 in.

Nimatallah/Art Resource, N.Y. [Fig. 13-10]

Praxiteles. Hermes and Dionysos. c. 330 BCE.Marble. height 7 ft. 1 in.

Studio Kontos Photostock. [Fig. 13-11]

Three Goddesses, from the east pediment of the Parthenon, Acropolis, Athens.

c. 438–432 BCE.Marble. over-life-size.

© The Trustees of the British Museum / Art Resource, NY. [Fig. 13-12]

Jim Sardonis. Reverence in progress (1 of 2). 1988–89.Photo courtesy of the artist. [Fig. 13-13a]

Jim Sardonis. Reverence in progress (2 of 2). 1988–89.Photo courtesy of the artist. [Fig. 13-13b]

Jim Sardonis. Reverence. 1989.Black granite. height 13 ft.

Photo courtesy of the artist. ©1989 Jim Sardonis. [Fig. 13-14]

Robert Arneson. Case of Bottles. 1964.Glazed ceramic (stoneware) and glass. 10-1/2 × 22 × 15 in.

Courtesy of George Adams Gallery, New York. Art © Estate of Robert Arneson/Licensed by VAGA, New York, NY. [Fig. 13-15]

Tomb of the emperor Qin Shihuangdi. 221–206 BCE.Painted ceramic figures. life-size.

O. LOUIS MAZZATENTA/National Geographic Stock. [Fig. 13-16]

Head of an Oba, Edo, Court of Benin. 18th century.Brass and iron. height 13-1/8 in.

Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. Gift of Mr. and Mrs. Klaus G. Perls, 1991 (1991.17.2). The

Metropolitan Museum of Art, New York, NY, U.S.A. [Fig. 13-17]

The Lost-Wax Casting Process. Line art.

[Fig. 13-18]

Auguste Rodin. The Burghers of Calais. 1884–85.Bronze. 79-3/8 × 80-7/8 in.

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966. 66.4340. Photo: Lee Stalsworth.

[Fig. 13-19]

Nancy Graves. Variability and Repetition of Similar Forms, II. 1979.Bronze with white pigmented wax patina on Cor-Ten steel base. 6 × 12 × 16

ft.Collection of the Akron Art Museu, purchased with funds from the Mary S.

and Louis S. Myers Foundation, the Firestone Foundation, National Endowment for the Arts and the Museum Acquisition Fund. Photo by Richman Haire. Art ©

Nancy Graves Foundation/Licensed by VAGA, New York, NY. [Fig. 13-20]

Luis Jiménez. Howl. 1986.Fiberglass and acrylic urethane. 60 × 29 × 29 in.

© 2012 Estate of Luis A. Jimenez, Jr. / Artists Rights Society (ARS), New York. Spencer Museum of Art at the University of Kansas. Museum purchase,

93.282. [Fig. 13-21]

Louise Nevelson. Sky Cathedral. 1958.Wood, painted black. 115 × 135 × 28 in.

Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. © 2012 Artists Rights Society (ARS), NY. Gift of Mr. and Mrs. Ben

Mildwoff. (136.1958.1-57). The Museum of Modern Art, New York, NY, U.S.A. [Fig. 13-22]

Display piece, Yoruba culture. early 20th century.Cloth, basketry, beads, and fiber. height 41-1/4 in.©The Trustees of the British Museum. [Fig. 13-23]

Jeff Koons. Puppy. 1992.Stainless steel, soil, geotextile fabric, internal irrigation system, and

live flowering plants. 40-1/2 × 40-1/2 × 21-1/3 ft.Guggenheim Bilbao Museoa. GBM1997.29. Photograph by Erika Barahona-Ede

© The solomon R. Guggenheim Foundation, New York. Art © Jeff Koons. [Fig. 13-24]

Robert Gober. Untitled. 1999.Plaster, beeswax, human hair, cotton, leather, aluminum, and enamel.

33-1/2 × 40 × 24 in.The Philadelphia Museum of Art / Art Resource, NY. [Fig. 13-25]

Clyde Connell. Swamp Ritual. 1972.Mixed media. 81 × 24 × 22 in.

Collection Tyler Museum of Art, Tyler, Texas. A gift from Atlantic Richfield Company.

[Fig. 13-26]

Eva Hesse. Contingent. 1969.Reinforced fiberglass and latex over cheesecloth.

height of each of 8 units 114–118 in.; width of each of 8 units. 36–48 in.Collection of the National Gallery of Australia, Canberra. Copyright The Estate of Eva Hesse. Courtesy Robert Miller Gallery, New York. [Fig. 13-

27]

Nancy Rubins. Pleasure Point. 2006.Nautical vessels, stainless steel, stainless steel wire, and boats. 304 ×

637 × 288 in.Museum of Contemporary Art San Diego. Museum purchase, International and Contemporary Collectors Funds. Collection Photo: Pablo Mason. Courtesy of

the artist and Gagosian Gallery. [Fig. 13-28]

Anish Kapoor. Cloud Gate. 2004.Stainless steel. 33 ft. × 66 ft. × 42 ft.

© Arcaid Images / Alamy. © Anish Kapoor. [Fig. 13-29]

Angela Behrends. Sway. 2011.365 glass vials each 3 in. tall, plaster, wild onion stalks, and 2

oscillating fans. dimensions variable.Courtesty of the artist. [Fig. 13-30a]

Angela Behrends. Sway, detail. 2011.365 glass vials each 3 in. tall, plaster, wild onion stalks, and 2

oscillating fans. dimensions variable.Courtesty of the artist. [Fig. 13-30b]

Eleanor Antin. Minetta Lane—A Ghost Story, installation view. 1995.Mixed media installation. Installation view.

Courtesy the artist and Ronald Feldman Fine Arts, New York. [Fig. 13-31]

Eleanor Antin. Minetta Lane—A Ghost Story (video projection 1 of 2). 1995.Mixed media installation. Video projection. Actors Amy McKenna and Joshua

Coleman.Courtesy the artist and Ronald Feldman Fine Arts, New York. [Fig. 13-32]

Eleanor Antin. Minetta Lane—A Ghost Story (video projection 2 of 2). 1995.Mixed media installation. Video projection. Artist’s window with Miriam

(the Ghost).Courtesy the artist and Ronald Feldman Fine Arts, New York. [Fig. 13-33]

James Turrell. A Frontal Passage. 1994.Fluorescent light. 12 ft. 10 in. × 22 ft. 6 in. × 34 ft.

Douglas S. Cramer, David Geffen, Robert and Meryl Meltzer, Michael and Judy Ovitz, and Mr. and Mrs. Gifford Phillips Funds. (185.1994) The Museum of Modern Art, New York, NY, U.S.A. The Museum of Modern Art/Licensed by

Scala-Art Resource, NY. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Courtesy of the artist. [Fig. 13-34]

Robert Smithson. Spiral Jetty. 4/1/1970.Great Salt Lake, Utah. Black rock, salt crystals, earth, red water (algae).

3-1/2 ft. × 15 ft. × 1,500 ft.Courtesy James Cohan Gallery, New York. Collection: DIA Center for the

Arts, New York. Photo: Gianfranco Goroni. Art © Estate of Robert Smithson/Licensed by VAGA, New York, NY. [Fig. 13-35]

Robert Smithson. Spiral Jetty. As it appeared in August 2003.Photographed by Sandy Brooke. Art © Estate of Robert Smithson/Licensed by

VAGA, New York, NY. [Fig. 13-36]

Great Serpent Mound, Adams County, Ohio. Hopewell culture. c. 600 BCE–200 CE.

length approximately 1,254 ft.Tony Linck / SuperStock. [Fig. 13-37]

Nancy Holt. Sun Tunnels, Great Basin Desert, Utah (four showing). 1973–76.Four tunnels. each 18 ft. long, 9 ft. 4 in. in diameter; each axis 86 ft.

long.Art © Nancy Holt/Licensed by VAGA, New York, NY. Courtesy John Weber

Gallery, New York. [Fig. 13-38]

Nancy Holt. Sun Tunnels, Great Basin Desert, Utah (one from front view). 1973–76.

Four tunnels. each 18 ft. long 9 ft. 4 in. in diameter; each axis 86 ft. long.

Courtesy John Weber Gallery, New York. Art © Nancy Holt/Licensed by VAGA, New York, NY. [Fig. 13-39]

Karen McCoy. Considering Mother’s Mantle, Project for Stone Quarry Hill Art Park, Cazenovia, New York (view 1 of 2). 1992.

View of gridded pond made by transplanting arrowhead leaf plants.Photo courtesy of the artist. [Fig. 13-40]

Karen McCoy. Considering Mother’s Mantle, Project for Stone Quarry Hill Art Park, Cazenovia, New York (view 2 of 2). 1992.

View of gridded pond made by transplanting arrowhead leaf plants. 40 × 50 ft. Detail (right).

Photo courtesy of the artist. [Fig. 13-41]

Allan Kaprow. Household. 1964.Licking jam off a car hood, near Ithaca, New York.

Sol Goldberg/Cornell University Photography. [Fig. 13-42]

Marina Abramovic´ and Ulay. Imponderabilia, Performance at the Galleria Communale d’Arte Moderna, Bologna, Italy. 1977.

© 2012 Marina Abromovic. Courtesy of Sean Kelly Gallery/(ARS), New York. Photograph by Giovanna del Magro. [Fig. 13-43]

Marina Abramovic. The House with the Ocean View— Nov. 22 9:54AM, 2002. November 15–26, 2002.Living installation.

© 2012 Marina Abromovic. Courtesy of Sean Kelly Gallery/(ARS), New York. Photo Steven P. Harris, New York. [Fig. 13-44]

Goat Island. How Dear to Me the Hour When Daylight Dies, 1995-96 (Image 1 of 2). 1/20/1996.

Images from video documentation of work in progress.Courtesy Goat Island. [Fig. 13-45]

Goat Island. How Dear to Me the Hour When Daylight Dies, 1995-96 (Image 2 of 2). 1/20/1996.

Images from video documentation of work in progress.Courtesy Goat Island. [Fig. 13-46]

Goat Island. How Dear to Me the Hour When Daylight Dies, 1995–96. 1/20/1996.

Image from video documentation of work in progress, January 20, 1996.Courtesy Goat Island. [Fig. 13-47]

Christo and Jeanne-Claude. Over the River, Project for the Arkansas River, State of Colorado. 2010.

Drawing in 2 parts (detail), pencil, charcoal, pastel, wax crayon, enamel paint, wash, fabric sample, hand-drawn topographic map and technical data.

detail size: 42 × 96 in.Photo: Wolfgang Volz/laif/Redux. Courtesy of Christo and Jeanne-Claude.

[Fig. 13-48]

Christo and Jeanne-Claude. Over the River, Project for the Arkansas River, State of Colorado. 2011.

Drawing in 2 parts (detail), pencil, charcoal, pastel, wax crayon, enamel paint, aerial photograph with topographic elevations and fabric sample.

detail size: 42 × 65 in.Photo: Wolfgang Volz/laif/Redux. Courtesy of Christo and Jeanne-Claude.

[Fig. 13-49]