INQUIRIES OF ART AND SCIENCE 2 3 Published on the occasion of Time as Landscape: Inquiries into Art and Science, on view at the Director’s Foreword Cornell Fine Arts Museum from September 29 to December 31, 2017.

This exhibition is generously supported by the Director’s Circle of the Cornell Fine Arts Museum; Curators’ Acknowledgements the State of Florida, Department of State, Division of Cultural Afairs; and the Florida Council on Arts and Culture. Additional support is provided by the CFAM General Exhibition and the Jessie and Eugene Incommensurable Temporalities by Abigail Ross Goodman Drey Exhibition Funds. Geographies of Time by Trevor Paglen The Cornell Fine Arts Museum is funded in part by Rollins College, Winter Park, Florida.

©2017 Cornell Fine Arts Museum is funded in part by Rollins College, Winter Park, Florida. All rights reserved no Plates part of this book may be published without the written permission of the Cornell Fine Arts Museum. The copyrights of the works of art reproduced in this book are retained by the artists, their heirs, successors, and assigns. Archives of Time: Yinka Shonibare, Xaviera Simmons, Howardena Pindell, Paglen, Trevor. The Last Pictures. (c) 2012 by Trevor Paglen. Published by the University of California Press. Dawn Roe, and Lucas Arruda by Amy Galpin

ISBN 13: 978-0-972280-7-0 Marked by Time: Scientific Readings in the Work of Luis Camnitzer, CURATORS ABIGAIL ROSS GOODMAN and AMY GALPIN Sara VanDerBeek, and Thiago Rocha Pitta by Amy Galpin EDITOR PATRICK COLEMAN DESIGN LINE THRU ZERO and MAURER CREATIVE PRINTED BY PROGRESSIVE Exhibition Checklist

4 5 WORKS BY YINKA SHONIBARE, HOWARDENA PINDELL, XAVIERA SIMMONS, DAWN ROE, AND LUCAS ARRUDA BY AMY GALPIN

Physical archives As Abigail Ross Goodman states in her history. Inspired by Indonesian designs, essay that begins this catalog, “The they were produced by the Dutch function as places of artists included in the exhibition desire and English, who later introduced the respite for many scholars. to understand, question, and describe cotton fabrics to their African colonies; the subject of time: as scientific fact, over time they became associated with They ofer scholars as relative experience, as aesthetic African heritage and tradition. The opportunities to focus archive.”1 By examining works by multiple cultural influences involved Xaviera Simmons, Yinka Shonibare, in the creation and ultimately the on research, consult Dawn Roe, Howardena Pindell, and meaning of these fabrics demonstrate primary documents, Lucas Arruda included in Time as Shonibare’s keen attention to hybridity Landscape common threads are in his artistic practice and the and interrogate historic formed, including the vital notion that complicated roles of the signifier and spaces. Archives also each of these artists creates aesthetic the signified. archives and uses time as a tool for energize new ideas and creative production. Shonibare’s new work, The American Library (Historians), presented in this can boost the theories Often interpreted through a framework exhibition for the first time, consists of those who use them. of postcolonialism, Yinka Shonibare of 225 books wrapped with fabric and makes work that questions European displayed on a bookcase, and similar The artists addressed in narratives historically dominated to earlier works critically examines this essay use time and by Anglo people. The past and meaning, how and whom shapes facts, present and the powerful and the ideas, and beliefs. An earlier, related archives either literally or oppressed often collide in Shonibare’s work, The American Library Collection metaphorically and both photographs, films, , and (Writers) (figs.12-13), consists of books installations. His distinctive works, written by American writers, both concepts are essential deeply informed by race, class, and well-known and lesser-known authors, to the exhibition, Time as demonstrative of cultural hybridity, are many whom are immigrants. Other often recognized by his use of textiles included texts are by authors who have Landscape: Inquiries of associated with West African cultures. stated anti-immigrant beliefs. Both

These fabrics have a rich and varied of Shonibare’s American collections FIG 12 Art and Science. Yinka Shonibare, MBE The American Library Collection (Writers), 2017 300 Hardback books, Dutch wax printed cotton textile, gold foiled names, bookcase 98 x 40 x 13 1/4 in. JCG9170 © Yinka Shonibare MBE. Courtesy James Cohan, New York. Photo: Phoebe d’Heurle.

1 See Abigail Ross Goodman’s “Incommensurable Temporalities” in this volume.

78 – ARCHIVES OF TIME ARCHIVES OF TIME – 79 were preceded by The British Library, Although athletic competition While time is scientific, it is also 2014, which included 6,000 books and can encompass style, artistry, and inherently human, and tethered to also focused on the contributions of sheer grit, it also involves scientific emotional experience. Lucas Arruda’s immigrants. All three works testify to processes, and in Pindell’s drawings, landscapes inspire diferent emotive the power of the written word, to the a concrete understanding of physics responses. The cycle of time leads to historic practice of collecting books, becomes a clear advantage in athletic shifts in color and the temperament and to the multifaceted space in which achievement. While Pindell has of the water. In a dedicated, even collections and libraries function. received greater recognition for her obsessive manner, he paints the ocean, films addressing race and her abstract the horizon line, and the sky. Choosing Textual analysis—whether literary, compositions,2 her drawings function a small-scale for subject matter that is historic, or scientific—allows for a as maps of movement on the television often rendered large, the artist creates series of hypotheses to be developed, screen through her own system of a distinctive contribution to the time- and ultimately tested. An important lines, dots, numbers and arrows. tested muse. Smaller ocean views practice when digging into an archive These diagrams of activity, invented are often studies, while fully realized is dividing the newly obtained and enacted by the artist, may evoke pictures tend to be grand in an attempt evidence into categories. By dissecting questions regarding how a baseball to portray the expansiveness of nature. information, the investigator can find spins or the location of where a tennis what information works and what ball lands on the court. Pindell’s video Time is inherent in Arruda’s work as information does not. Howardena drawings, however, relate a scientific it relies heavily on the idea of natural Pindell’s video drawings interrogate approach that dissects a dominate light. As evidenced by Untitled, 2012 motion on the television screen. Many mechanism and its output, the (pl.2), Arruda’s painterly evocation of Pindell’s video drawings present television and its programming, and of light at the horizon line reinforces sporting events (figs.14-15) while others resulting efects on American lives. the practice of timekeeping. Steady depict innocuous imagery like fish Who are the actors, choreographers, observation of the horizon line yields (pl.14). The works are the result of a owner, and participants? Pindell’s a cyclical process from which one can multi-step process that includes taking diagrams evoke scientific processes, identify a range of time. Curator and a still image of moving image on the but they are not scientific documents. critic Chris Sharp writes, “Indeed, what television screen and then placing a Instead they force the viewer to slow Arruda does speaks to a journey that transparency that maps the movement down, ponder the imagery, and to is both outward and inward, gesturing over the still image. The still image and deconstruct the composition. toward a threshold, which, like the transparency are then photographed unattainable horizon itself, irradiates resulting in a final representation. FIG 12 Yinka Shonibare, MBE The American Library Collection (Writers), 2017 300 Hardback books, Dutch wax printed cotton textile, gold foiled names, bookcase 98 x 40 x 13 1/4 in. JCG9170 2 A long overdue retrospective of the artist’s oeuvre opens at the Museum of , Chicago in 2018. Her large-scale abstractions are represented in © Yinka Shonibare MBE. Courtesy James Cohan, New York. Photo: Phoebe d’Heurle. major museum U.S. collections such as the Metropolitan Museum of Art and the Museum of Fine Arts, Boston. Her seminal video Free, White and 21, 1980 is in the permanent collection of the , New York and was included in the exhibition, We Wanted a Revolution: Black Radical Women, 1965-85 at the Brooklyn Museum.

80 – ARCHIVES OF TIME ARCHIVES OF TIME – 81 FIG 14 FIG 15 Howardena Pindell Howardena Pindell Video Drawings: Baseball, 1975 Video Drawings: Tennis, 1975 Chromogenic print Chromogenic print 8 x 10 inches 8 x 10 inches Courtesy of the artist and Garth Greenan Gallery Courtesy of the artist and Garth Greenan Gallery

82 – ARCHIVES OF TIME ARCHIVES OF TIME – 83 the existential angst of the seeker while connections, including the Venezuelan In Catalonia, Roe further linked to the exemplified by Bark Lines on Cypress photographs like Red (Number Two), guardian figure head, Songye power touching upon the romantic sublime. painter Armando Reverón. historical past and to memorials, the Tree at Cementerio de Portbou (fig.16). 2016 (pl.18), are carefully constructed figure, and Punu mask appear on the Such a series of preoccupations places physical area covered by the artist Although the history of photography tableaux in which she appears as the board dedicated to African art.9 These Arruda at the center of international In Dawn Roe’s work, a sense of cyclical, encompasses the forests near the creates a complex apparatus that protagonist. The artist depicts herself, objects likely date to the nineteenth debates about which are at rather than linear time, becomes footpath where philosopher Walter informs Roe’s work, the artist also but the work is not meant as a self- and early twentieth centuries; they are once totally current and perfectly reinforced. The artist, like Arruda, Benjamin traveled before his suicide challenges traditional norms. Later, portrait. Before the picture is taken, well-known images and could be found timeless.”3 Arruda’s work derives from returns to specific subject matter as a in Portbou.5 Roe resuscitates the after scanning the original images, Roe the artist writes a synopsis of the in survey texts. By compiling these memory and imagination; his work part of an intense observation process. past and sheds light on lesser known produced composite compositions character she will portray and carefully images on boards, the artist develops is not about naturalistic study, but Through presenting her work in varied, histories, specifically here, the role of a and produced video that serves as thinks through the appropriate props. an archive. instead about constructed notions and deconstructed formats, Roe allows women in the creation of cyanotypes, part documentary and part conceptual “I consider them characters—each memories of light. Process is also key, the viewer to suspend emphasis on a critical process to the development practice pushing against canonical image, each figure in the photograph Simmons contributes to a visual archive he experiments and approaches each linear interpretations. This interest of photography’s history and Land Art processes.7 Moreover, Roe’s is a diferent character. I try to with the compilation of images, while work diferently; in certain instances, in time passage, the experience of recognition as an art form. Anna Atkins work included in Time as Landscape, respond to the landscape so that the working against historic tropes of the he scratches with the handle of the cyclical time, and exacting study published British Algae: Cyanotype Cloth Left 2 Days at Cementerio de character embodies the essence of figure, specifically the female figure brush, or he applies the paint thickly occurs in multiple bodies of work by Impressions in 1843. A groundbreaking Portbou (pl.16), melds photography that landscape in that moment, and I in the landscape. “I always had some or thinly. Moreover, Arruda’s work is the artist such as Mountainfield Studies accomplishment by the British botanist, and . The composition was try to be as truthful as I can be to the semblance of landscape, in the idyllic informed by the historical past. “At the (2014-present) and Goldfields (2011-13). British Algae included more than 400 made by twisting the treated cloth essence underneath that landscape.”8 or restorative sense. It’s just that my same time he asserts the matter-of-fact cyanotypes and became the first around a fence and leaving it exposed Red (Number Two) exemplifies her intention as I’ve become an adult has physicality of the medium, he creates During a summer 2017 residency in publication to solely illustrated by for two days. Once the scanned image process of indexing as she presents an focused on this romantic notion of luminous space. Many pictures suggest Spain, near the border of France, Roe photography. To make her work, she is printed and mounted on aluminum, assortment of images that repeat on the landscape. Also, from walking so views of beaches at low tide on foggy worked outside each day, exploring put her specimens on paper followed it rests on a plinth in the gallery. The boards, and in the case of the African long in a meditative way I have a close mornings; others evoke twilight. You the natural terrain, its rocks, shadows, by iron salts and then exposed the three-dimensional aspect of the vessels, both the actual objects and the connection to nature and because I’m see through the eyes of the lonesome and natural vegetation. Like the paper to the sun. The result, a white finished work parallels the early stages types of objects repeat. On the boards an artist that’s the way I translate it. If Romantic wanderer who haunts the groundbreaking artist Nancy Holt, who form of algae on a blue background of Roe’s process, working outdoors, here, there are images of the moon and I were an architect, I would probably of artists like Caspar David produced her own distinctive response that she called “shadowglyphs.”6 While moving around the treated cloth the landscape, on the board that tips start thinking in more natural forms.”10 Friedrich and Edward Hopper.”4 While to light and topography, Roe cultivates in Spain, Roe took treated cloth into and observing how the sun creates a over, and on the board that stands up Well aware that land possesses one might think of Friedrich or Hopper, a personal relationship with nature—a the hot sun and rigorous terrain and “blueprint” of natural forms. images of African art. Objects such as narratives of people, she intervenes few view his work without recalling bond that is dedicated, ongoing, and produced cyanotypes that mapped Kota reliquary guardian figure, which in traditional Western narratives. the seascapes of the British painter, often tied to mourning, most literally in shadows, needles, and other natural Xaviera Simmons produces work in is a metal-wrapped wood sculpture, Simmons spent two years walking and J.W. Turner, and yet other touchstones, the series No One Was With Her When elements. Many of the cyanotypes diverse formats from photography Luba caryatid stools, Hemba figure retracing the transatlantic slave trade. specifically Latin American She Died, 2013-15, but in other bodies resulted in abstract compositions as and installation to performance. Her with ofering bowl, Fang reliquary She observed landscapes in Natchez, of work as well.

3 Chris Sharp, “Lucas Arruda,” New Shamans/Novos Xamãs: Brazilian Artists from the Rubell Family Collection, exh. cat. (, FL: Rubell Family Collection, 2016), 11. 7 With the notable exception of Nancy Holt, mentioned earlier, histories of Land Art often focus on large-scale works produced by men. 4 Ken Johnson, “Lucas Arruda: ‘Deserto-Modelo,’” New York Times, June 24, 2011. 8 Conversation between Pablo Helguera, Ohad Meromi, Xaviera Simmons, and Paul David Young. PAJ: A Journal of Performance and Art, 5 Walter Benjamin traveled through the region to secure safe passage to the United States as he fled the threat of violent persecution at the hands of Nazis. Volume 34, Number 1, January 2012 (PAJ 100), 172. Shortly before he took his own life, after arriving safely in Catalonia, he was informed that he would be taken back to Nazi-controlled France. 9 Dr. MacKenzie Moon Ryan, Assistant Professor of Art History at Rollins College, helped with these identifications. 6 Zeva Oelbaum, Blue Prints: The Natural Cyanotype Photographs (New York: Rizzoli, 2002), 10. 10 Emily McDermott, “Xaviera Simmons, All Over the Place,” Interview Magazine (December 4, 2013).

84 – ARCHIVES OF TIME ARCHIVES OF TIME – 85 Mississippi, Cuba, and Western Africa. painter, the female figure amidst the demonstrate that approach. Rather As a black woman, representing her mountainous rocky, inhabitable terrain, than lab experiments, these artists are presence in the landscape subverts conjures thoughts of an adventurer, or observers, seekers, investigators, that both the political and art historical past. surveyor. Her figure does not recline, record, index, map and ultimate archive appear inactive, or function as the time. Although the subjects might be Depicting a female figure in the subject of an alluring gaze, but instead diferent from American history and landscape occurs in historic art of the her figure seems in motion, active in television programming to light, nature, Americas. Simmons directly engages her agency. Colonialism and land are and the experience of the physical with this history, giving the past a intertwined. Simmons disturbs this environment, the notion of time revised present. During the sixteenth relationship. In writing about an earlier, shapes these individual works. In our and seventeenth centuries, the female related body of work, scholars write, contemporary moment, the freedom figure occasionally appeared as “Something happens in the outside and to pursue scientific inquiry seems allegory to the colonial expansion: the within and against the folds of Untitled, precarious, so much so that some seizing of land from the indigenous photos that resist the enclosure of title people across the U.S. recently chose populations. In the nineteenth and and possession.” This work, included to march in the streets to publically twentieth centuries, certain Western in Time as Landscape, also resists the declare pro-science messages. The male artists rendered the female “enclosure of title and possession.” works in this essay serve as reminders figure as a metaphor for the beauty of Red (Number Two) is performative, that science does not belong only the natural terrain. During this same choreographed, and ultimately, a to scientists, but to artists, to all period—the traveler, reporter artist, political rumination tied to time. investigators, and to all humans. surveyed the expansive topography. Science functions as a broad and While the easels in Simmons’s fluid field in Time as Landscape photograph could suggest a plein-air and the artists addressed here

FIG 16 Dawn Roe Bark Lines on Cypress Tree at Cementerio de Portbou, 2017 Pigment print of scanned cyanotype on aluminum Dimensions variable Courtesy of the artist

86 – ARCHIVES OF TIME ARCHIVES OF TIME – 87 36 37 PLATE 1 Darren Almond To Leave a Light Impression, 2013 Cast bronze and paint 7 5/16 H x 90 15/16 W x 1/2 D in. The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College, Gift of Barbara ’68 and Theodore ’68 Alfond 2014.1.38 Image courtesy of the artist and Matthew Marks Gallery

38 39 PLATE 2 Lucas Arruda Untitled Oil on canvas 9 29/64 x 11 13/16 in. Collection of Benjamin Sontheimer Image courtesy of the artist and Mendes Wood DM

40 41 PLATE 3 Rosa Barba The Color Out of Space, 2015 5 colored glass filters, steel base, HD video, color, sound 36 minutes Dimensions variable Courtesy of the artist and Meyer Riegger

42 43 PLATE 4 Luis Camnitzer Timelanguage, 2016 Xerox toner on laid paper in 14 parts 18 3/4 x 12 1/4 in. each Display dimensions: 48 H x 114 W in. Edition of 12 with 1 AP (Ed. 8/12) Museum Purchase with Funds from the G.H. Smith Watch Key Acquisitions Fund Cornell Fine Arts Museum, Rollins College 2017.8 Image courtesy of the artist and Alexander Gray and Associates

44 45 PLATE 5 JG (ofset), 2013 1 of 14, handmade archival ofset print Courtesy of the artist, Marian Goodman Gallery and Niels Borch Jensen Gallery

46 47 PLATE 6 Noah Doely Untitled #9, from the series Above & Below, 2013 Silver gelatin print mounted on aluminum 40 X 60 in. Courtesy of the artist

48 49 PLATE 7 Spencer Finch Eos (Dawn, Troy, 10/27/02), 2007 Sixty-nine fluorescent fixtures, lamps with filters 3 ft. x 17 ft. x 1 1/2 in. Courtesy of the artist and James Cohan, New York

50 51 PLATE 8 Charles Gaines Numbers and Trees, Central Park, Series I: Tree #1, Ben, 2015 Acrylic, inkjet print, plexiglass 2 panels each: 95 x 42 x 5 3/4 in. Center panel 95 x 42 1/2 x 5 3/4 in. Courtesy of the artist and Paula Cooper Gallery

52 53 PLATE 9 Camille Henrot Grosse Fatigue, 2013 Video (color, sound) 13 minutes Dimensions variable Courtesy of the artist and Metro Pictures

54 55 PLATE 10 On Kawara Dec. 2 1989, 1989 Liquitex on canvas and handmade box with newspaper clipping from the New York Times 10 x 13 in. Collection of Barbara and Ted Alfond Image courtesy of the artist and David Zwirner Gallery

56 57 PLATE 11 Epigraph, Damascus, 2016 Photogravure, sugar lift aquatint, spit bite aquatint, open bite Hahnem 97 1/2 H x 40 3/4 W in. each The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College, Gift of Barbara ’68 and Theodore ’68 Alfond 2016.3.17 Image courtesy of the artist and Marian Goodman

58 59 PLATE 12 Richard Mosse Idomeni Camp, Greece, 2016 Digital c-print on metallic paper 40 x 120 in. The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College, Gift of Barbara ’68 and Theodore ’68 Alfond 2017.6.4 Image courtesy of the artist and Jack Shainman Gallery

60 61 PLATE 13 Trevor Paglen Trinity Cube, 2015 Irradiated Glass from Fukushima Exclusion Zone, Trinitite 7 7/8 x 7 7/8 x 7 7/8 in. Courtesy of the artist and Metro Pictures

62 63 PLATE 14 Howardena Pindell Video Drawings: Abstract (Schooling Fish), 1976 Chromogenic print 8 x 10 inches Courtesy of the artist and Garth Greenan Gallery

64 65 PLATE 15 Thiago Rocha Pitta seascape with cyanobacteria, 2017 Fresco 28 x 35 7/8 inches Courtesy of the artist and Marianne Boesky Gallery

66 67 PLATE 16 Dawn Roe Cloth Left 2 Days at Cementerio de Portbou Pigment print of scanned cyanotype on aluminum Dimensions variable Courtesy of the artist

68 69 PLATE 17 Tomás Saraceno Hybrid Dark semi-social semi-social semi-social semi-social semi-social Cluster Alderamin built by: a solo Cyrtophora citricola - four weeks, a solo Cyrtophora citricola juvenile - two weeks, a duet of Cyrtophora citricola juveniles - two weeks, a quartet Cyrtophora citricola juveniles - one week, a solo Cyrtophora citricola - one week, rotated 90°, 2017 Spidersilk, carbon fiber, ink, glass, metal 9 7/8 x 9 7/8 x 6 in. Courtesy of the artist and Tanya Bonakdar Gallery

70 71 PLATE 18 Xaviera Simmons Red (Number Two), 2016 Chromogenic color print 48 x 60 inches Edition of 3 Courtesy of the artist and David Castillo Gallery

72 73 PLATE 19 Sarah Sze Seconds Clipped, 2015 Wood, video projectors, lamps, stone, glazed ceramic, plants, archival prints, glass 180 x 93 x 90 in. Image courtesy of the artist and Tanya Bonakdur Gallery

74 75 Darren Almond Tacita Dean On Kawara Trevor Paglen Dawn Roe Sara VanDerBeek b. 1971, Wigan, England, UK, b. 1965, Kent, England, UK, b.1932, Kariya, Aichi Prefecture, Japan—d. 2014, b. 1974, Camp Springs, Maryland, b. 1971, Sault Ste. Marie, Michiga, b. 1976, Baltimore, Maryland, lives and works in London lives and works in New York, New York lives and works in Berlin lives and works in Asheville, NC and Winter Park, FL lives and works in New York To Leave a Light Impression, 2013 Trying to Find the Spiral Jetty, 1997 Dec. 2 1989, 1989 Trinity Cube, 2015 Cloth Left 2 Days at Cementerio de Portbou, 2017 Metal Mirror II (Magia Naturalis), 2013 Cast bronze and paint Audio Liquitex on canvas and handmade box with Irradiated Glass from Fukushima Exclusion Zone, Pigment print of scanned cyanotype on aluminum Digital c-print and Mirona glass 7 5/16 H x 90 15/16 W x 1/2 D in. running time, 27 minutes newspaper clipping from the New York Times Trinitite Dimensions variable 97 1/2 x 49 1/2 in. The Alfond Collection of Contemporary Art, Courtesy of the artist and 10 x 13 in. 7 7/8 x 7 7/8 x 7 7/8 in. Courtesy of the artist The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College, Marian Goodman Gallery Collection of Barbara and Ted Alfond Courtesy of the artist and Metro Pictures Cornell Fine Arts Museum, Rollins College, Gift of Barbara ’68 and Theodore ’68 Alfond Tomás Saraceno Gift of Barbara ’68 and Theodore ’68 Alfond 2014.1.38 Tacita Dean Tom LaDuke Howardena Pindell b. 1973, San Miguel de Tucumán, Argentina, 2013.34.76 b. 1965, Kent, England, UK, b. 1963, Holyoke, Massachusetts b. 1943, Philadelphia, Pennsylvania, lives and works in Berlin Lucas Arruda lives and works in Berlin Mirror Drive, 2013 lives and works in New York Hybrid Dark semi-social semi-social semi-social Sara VanDerBeek b. 1983, São Paulo, Brazil, JG (ofset), 2013 Oil and acrylic on canvas over panel Video Drawings: Abstract (Schooling Fish), semi-social semi-social Cluster Alderamin built b. 1976, Baltimore, Maryland, lives and works in São Paulo 14 archival ofset prints 20 x 20 in. 1976 by: a solo Cyrtophora citricola - four weeks, a solo lives and works in New York Untitled each 13 x 31 1/2 in. (framed) The Alfond Collection of Contemporary Art, Chromogenic print Cyrtophora citricola juvenile - two weeks, a duet Metal Mirror IV (Magia Naturalis), 2013 Oil on canvas Courtesy of the artist and Cornell Fine Arts Museum, Rollins College, 8 x 10 in. of Cyrtophora citricola juveniles - two weeks, a Digital c-print and Mirona glass 9 29/64 x 11 13/16 in. Marian Goodman Gallery Gift of Barbara ’68 and Theodore ’68 Alfond Courtesy of the artist and Garth Greenan Gallery quartet Cyrtophora citricola juveniles - one week, a 97 1/2 x 49 1/2 in. Collection of Benjamin Sontheimer 2013.34.21 solo Cyrtophora citricola - one week, rotated 90° The Alfond Collection of Contemporary Art, Noah Doely Howardena Pindell Spidersilk, carbon fiber, ink, glass, metal , 2017 Cornell Fine Arts Museum, Rollins College, Rosa Barba b. 1982, Golden Valley, Minnesota, Julie Mehretu b. 1943, Philadelphia, Pennsylvania, 9 7/8 x 9 7/8 x 6 in. Gift of Barbara ’68 and Theodore ’68 Alfond b. 1972, Agrigento, , , lives and works in Cedar Falls, Iowa b. 1970, Addis Ababa, Ethiopia, lives and works in New York Courtesy of the artist and 2013.34.77 lives and works in Berlin Untitled #9, from the series Above & Below, 2013 lives and works in New York Video Drawings: Baseball, 1975 Tanya Bonakdar Gallery The Color Out of Space, 2015 Silver gelatin print mounted on aluminum Epigraph, Damascus, 2016 Chromogenic print Sara VanDerBeek 5 colored glass filters, steel base, 40 X 60 in. Photogravure, sugar lift aquatint, spit bite 8 x 10 in. Yinka Shonibare, MBE b. 1976, Baltimore, Maryland, HD video, color, sound Courtesy of the artist aquatint, open bite Hahnem Courtesy of the artist and Garth Greenan Gallery b. 1962, London, England, lives and works in New York running time, 36 minutes 97 1/2 H x 40 3/4 W in. each lives and works in London Metal Mirror V (Magia Naturalis), 2013 Dimensions variable Spencer Finch The Alfond Collection of Contemporary Art, Howardena Pindell The American Library Collection (Historians), 2017 Digital c-print and Mirona glass Courtesy of the artist and Meyer Riegger b. 1962, New Haven, Connecticut, Cornell Fine Arts Museum, Rollins College, b. 1943, Philadelphia, Pennsylvania, 225 Hardback books, Dutch wax printed cotton 97 1/2 x 49 1/2 in. lives and works in New York Gift of Barbara ’68 and Theodore ’68 Alfond lives and works in New York textile, gold foiled names, bookcase The Alfond Collection of Contemporary Art, Luis Camnitzer Eos (Dawn, Troy, 10/27/02), 2007 2016.3.17 Video Drawings: Tennis, 1975 98 x 40 x 13 1/4 in. Cornell Fine Arts Museum, Rollins College, b. 1937, Lübeck, , active in Uruguay, Sixty-nine fluorescent fixtures, lamps with filters Chromogenic print Courtesy of the artist and James Cohan, New York Gift of Barbara ’68 and Theodore ’68 Alfond lives and works in New York 3 ft. x 17 ft. x 1 1/2 in. Richard Mosse 8 x 10 in. 2013.34.78 Timelanguage, 2016 Courtesy of the artist and b. 1980, Kilkenny, Ireland Courtesy of the artist and Garth Greenan Gallery Xaviera Simmons Xerox toner on laid paper in 14 parts James Cohan, New York Idomeni Camp, Greece, 2016 b. 1971, New York, New York, Lawrence Weiner 18 3/4 x 12 1/4 in. each Digital c-print on metallic paper Thiago Rocha Pitta, lives and works in New York b. 1942, Bronx, New York, Display dimensions: 48 H x 114 W in. Charles Gaines 40 x 120 in. b. 1980, Tiradentes, Minas Gerais, Brazil, Red (Number Two), 2016 lives and works in New York Edition of 12 with 1 AP (Ed. 8/12) b. 1944, Charleston, South Carolina, The Alfond Collection of Contemporary Art, lives and works in São Paulo Chromogenic color print IMPACTED TO THE POINT OF FUSING SAND INTO Museum Purchase with Funds from the G.H. lives and works in Los Angeles Cornell Fine Arts Museum, Rollins College, seascape with cyanobacteria, 2017 48 x 60 in. GLASS, 2010, 2017 Smith Watch Key Acquisitions Fund Numbers and Trees, Central Park, Gift of Barbara ’68 and Theodore ’68 Alfond Fresco Edition of 3 Vinyl Cornell Fine Arts Museum, Rollins College Series I: Tree #1, Ben 2017.6.4 each, 28 x 35 7/8 in. Courtesy of the artist and David Castillo Gallery Dimensions variable 2017.8 Acrylic, inkjet print, plexiglass, 2015 Courtesy of the artist and Courtesy of the artist and Marian Goodman 2 panels each: 95 x 42 x 5 3/4 in. Trevor Paglen Marianne Boesky Gallery Sarah Sze, b. 1969, Boston, Massachusetts, lives Julia Dault Center panel 95 x 42 1/2 x 5 3/4 in. b. 1974, Camp Springs, Maryland, and works in New York b. 1977, Toronto, Canada, Courtesy of the artist and Paula Cooper Gallery lives and works in Berlin Thiago Rocha Pitta Seconds Clipped, 2015 lives and works in Toronto The Last Pictures/EchoStar XVI Launch and b. 1980, Tiradentes, Minas Gerais, Brazil, Wood, video projectors, lamps, stone, glazed Untitled 32, 9:45 AM-2:30 PM, Camille Henrot Preliminary Orbit, 2012 lives and works in São Paulo ceramic, plants, archival prints, glass October 22, 2013, 2013 b. 1978, Paris, France, C-prints Seascape with cyanobacteria, 2017 180 x 93 x 90 in. Formica, Plexiglas, Everlast boxing wraps, and string lives and works in New York 38 7/8 x 43 in. each Fresco Courtesy of the artist and Dimensions variable Grosse Fatigue, 2013 The Alfond Collection of Contemporary Art, 28 x 35 7/8 in. Tanya Bonakdur Gallery As installed: 88 x 66 x 38 1/2 in. Video (color, sound) Cornell Fine Arts Museum, Rollins College, Courtesy of the artist and (223.5 x 167.6 x 97.8 cm) running time, 13 minutes Gift of Barbara ’68 and Theodore ’68 Alfond Marianne Boesky Gallery Images courtesy of the artist and Dimensions variable 2013.34.81 Marianne Boesky Gallery Courtesy of the artist and Metro Pictures

98 – EXHIBITION CHECKLIST EXHIBITION CHECKLIST – 99