3. Hall of the Bulls (left wall), Lascaux, Dordogne, France, ca. 15,000–13,000 BCE. Largest bull approx. 11’ 6” long.

5. Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long.

6. Arborglyphs

7. paintings made by Tehuelches natives. 13,000 to 9,500 Years ago Cueva de las Manos

8. Maarten Vanden Eynde Contemporary Cavedrawings, Los Angeles, 2007

9. (AD 1 to AD 1275)

10. Ute Rock Art, carved by Native Americans around 1650 to 1850 AD

11. Keith Haring

12. Banksy, “early man venturing towards the out-of-town hunting grounds”

16. Richard Long, A Line Made by Walking England, 1967

18. Leonardo Da Vinci Study of horses c. 1490 Silverpoint on prepared paper, 250 x 187 mm Royal Library, Windsor

19. Leonardo da Vinci Angel for the Madonaa of the Rocks 1483-85, Metalpoint with white chalk

25. Banks Violette, Burnout (Fadeway), Vol. 1, 2003, Graphite on Paper, 40x60”

26. Nathan Abels, “Murmur”, Charcoal and Graphite on Paper, 22x30”

27. D-L Alvarez

28. Annibale Carracci

29. Elizabeth Peyton

30. Tacita Dean,” Chere Petite Soeur”, 2002, (detail) chalk on blackboard – diptych, each 96x192”

32. Zak Smith

33. Glexis Novoa, Safe and Quiet, 2002, Graphite on Wall and Canvas

34. Matthew Ritchie, Eschaton , 2002, Vinyl decal on wall, approx. 38x72 feet

36. Vik Muniz, Cathedral de Leon , from the series, “Pictures of Chocolate”, 2003, Cibachrome Photograph, 40x30” Vik Muniz, from the series “Pictures of Earthworks”, 2002, Toned Gelatin Silver Print, 40x50”

37. Robin Rhode, He Got Game , 2001

43. Encaustic Fayum (or Fayoum) mummy portrait of a young woman with a gilded wreat, Encaustic on wood Ancient Egypt, Roman Period A.D. 120-140

44. Detail of Fayum Portrait of a young man, Encaustic on Wood, 220-250 AD

45. JASPER JOHNS, Flag, 1954–1955, dated on reverse 1954. Encaustic, oil, and collage on fabric mounted on plywood, 3’ 6 1/4” x 5’ 5/8”. Museum of Modern Art, New York

46. Tony Scherman Nights with Jack 2001 encaustic on canvas 60" x 80"

47. Tony Scherman, Kurt C, series: The Junkies , encaustic on canvas , 60" x 72" , 2007-08

49. Fowling scene, from the tomb of Nebamun, Thebes, Egypt, Dynasty XVIII, ca. 1400–1350 BCE. Fresco on dry plaster, approx. 2’ 8” high. British Museum, London.

50. LEONARDO DA VINCI, Last Supper (uncleaned), ca. 1495–1498. Fresco (oil and tempera on plaster), 29’ 10” x 13’ 9”. Refectory, Santa Maria delle Grazie, Milan.

51. Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy, built 1473.

52. MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508–1512. Fresco, approx. 128’ x 45’.

55. DIEGO RIVERA, Ancient Mexico, from the History of Mexico fresco murals, National Palace, Mexico City, 1929–1935. Fresco.

56. GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence.

61. John Singer Sargent, Claude Monet Painting in a Garden Near Giverny , 1885, Oil on canvas 21 1/4 x 25 1/2 in.

66. JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7’ 3” x 9’ 10”. National Gallery of Art, Washington

67. Zevs

68. ALBRECHT DÜRER, The Great Piece of Turf, 1503. Watercolor, approx. 1’ 4” x 1’ 1/2”. Graphische Sammlung Albertina, Vienna. Watercolor

69. Walton Ford, “Falling Bough”, 2002 Watercolor, gouache, ink and pencil on paper, 60 3/4 x 119 1/2" Courtesy Paul Kasmin Gallery, New York

71. Walton Ford

72. Other ways of seeing painting Sculpture/Painting Collage/Painting Fashion/Painting Process Painting

73. PABLO PICASSO, Les Demoiselles d’Avignon, June–July 1907. Oil on canvas, 8’ x 7’ 8”. Museum of Modern Art, New York Sculpture and Painting

74. Ed Ruscha

75. DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals. Donald Judd "Nimetu" 1968

77. 2001: A Space Odyssey ; 1968

79. Wangechi Mutu Collage and Painting

80. David Thorpe Kings of The Night 1998, Paper Collage 149 x 168cm

81. Andy Warhol; paintings on display in Bonwit Teller Windows, Fifth Avenue, New York, 1961 Painting and Popular Culture

82. Takashi Murakami, Kaikai & Kiki, (2000), Time Bokan – pink, (2001), and Jellyfish Eyes (2001) at Museum of Contemporary Art, Tokyo, 2001,

83. Takashi Murakami

84. Natalie Portman, Interview Magazine July 2004 Balthus

88. Painting and Motion

89. Painting and Motion – David Ellis

91. Printmaking

92. Relief Intaglio Lithography Screen Print/Stencil

98. ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, approx. 9 7/8” x 7 5/8”. Museum of Fine Arts, Boston

100. REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.

101. FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 6”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).

102. Kiki Smith

107. Lithography

110. Henri de Toulouse-Lautrec La Goulue , 1891.

111. Henri de Toulouse-Lautrec Ambassadeurs: Aristide Bruant 1892.

112. Jasper Johns Two Maps II , 1966 Lithograph printed on white Japan paper, laid down on black Fabriano paper 25 3/8 x 20 1/4 inches Signed, dated, annotated and numbered in white crayon Edition 30

113. Andy Warhol, "Green Car Crash (Green Car Burning 1)" 1963, synthetic polymer, silkscreen ink and acrylic on linen

114. Andy Warhol Orange Disaster , 1963 silkscreen 30 1/6" x 30 1/8"

116. “ The photograph was the ultimate response to a social and cultural appetite for a more accurate and real-looking representation of reality, a need that had its origins in the Rennaisance” - Naomi Rosenblum, A World History of Photography

118. Camera Obscuras by Abelardo Morell

122. Johannes Vermeer, Woman with a Lute near a Window Year: early 1660s 51.4 x 45.7 cm

123. Vermeer and Camera Obscura

124. Joseph Nicéphore Niépce , 1826

125. In January 1839, Daguerre announced the invention of the Daguerreotype , a type of photograph which was laterally reversed and monochromatic printed onto a metal plate. The Daguerreotype

126. Louis Daguerre View of the Boulevard du Temple, 1839

129. LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837. Daguerreotype.

130. JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype.

131. Daguerreotype of Emily Dickinson, c. 1846-47

132. Chuck Close, Kate, 2003 ,Daguerrotype, 8 1/2 x 6 1/2 in.

134. Tintypes - a very underexposed image is produced on a collodion photographic emulsion on a dark metal backing; thus viewed the image appears as a positive.

135. Around the same time as the invention of the Daguerreotype, an English scientist called William Henry Fox Talbot developed the Calotype . The Calotype could be reproduced as a negative as opposed to being a single, unduplicatable image. Competition Antoine Claudet Portrait of William Henry Fox Talbot 1844

136. Talbot’s initial photographic experiments involved producing photograms or, what he referred to as ‘Photogenic Drawings’. Talbot’s Photogenic Drawings William Henry Fox Talbot Botanical Specimen 1839 William Henry Fox Talbot Latticed Window at Lacock Abbey 1835

137. 1842, Cyanotype Process

138. Man Ray Rayograph

139. Floris m. Neususs, “Tanz”, 1965

140. Chronophotographic Gun-1881

141. EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George Eastman House, Rochester, New York.

142. EUGÈNE DURIEU and EUGÈNE DELACROIX, Draped Model (back view), ca. 1854. Albumen print, 7 5/ 16” x 5 1/8”. J. Paul Getty Museum, Los Angeles.

143. JULIA MARGARET CAMERON, Ophelia, Study no. 2, 1867. Albumen print, 1' 11" x 10 2/3". George Eastman House, Rochester, New York.

144. TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy O’Sullivan. Original print by ALEXANDER GARDNER, 6 3/8" x 8 3/4". The New York Public Library

145. “ Art is not so much a matter of methods and processes as it is an affair of temperament, of taste and of sentiment... In the hands of the artist, the photograph becomes a work of art... In a word, photography is what the photographer makes it - an art or a trade.” (William Howe Downes, 1900. A World History of Photography, Naomi Rosenblum, 1997)

146. Terminal, 1892. Alfred Stieglitz .

147. "The Steerage" 1907 photograph by Alfred Stieglitz.

148. Edward Steichen, 1905

149. Edward Steichen, 1904

152. Ansel Adams, “Aspens, Dawn, Autumn, Dolores River Canyon, Colorado”, 1937

153. Dorthea Lange - Farm Security Administration (FSA) - 1935-1944

154. "We must never forget that art is not a form of propaganda; it is a form of truth." Amherst College, 10/26/63

155. Documentary photography records the social scene of our time. It mirrors the present and documents [it] for the future. Its focus is man in his relation to mankind. It records his customs at work, at war, at play….It portrays his institutions….It shows not merely their facades, but seeks to reveal the manner in which they function, absorb life, hold the loyalty, and influence the behavior of human beings.” – Dorthea Lange

158. Cindy Sherman

161. Metropolis, 1927

162. 2001: A Space Odyssey (1968)

164. Bill Viola

166. Internet and Conceptual Art Mike Parr's Aussie, Aussie, Aussie, Oi, Oi, Oi , 2003. “ democratic torture”

169. Warrior Vase, from Mycenae, Greece, ca. 1200 BCE. Approx. 1’ 4” high. National Archaeological Museum, Athens.

173. Rachel Whitread, House, 1993. Whiteread sprayed concrete on the inside of all the walls of a Victorian era house in a block that was to be torn down to make space for a public park. The walls were then removed, leaving just the shell of the house, or the shell of the negative space formerly created by the walls.

175. Marc Quinn Self 82" by 25" by 25" blood/stainless steel, Perspex, refrigeration equipment 1991

177. “Good art is an object or a situation that allows you to feel or think something new.” - Marc Quinn

178. Prosthesis, 2000

187. GIOVANNI PISANO, The Annunciation and the Nativity, detail of the pulpit of Sant’Andrea, Pistoia, Italy, 1297–1301. Marble relief, approx. 2’ 10” x 3’ 4”.

188. MICHELANGELO BUONARROTI, Moses, San Pietro in Vincoli, Rome, Italy, ca. 1513–1515. Marble, approx. 8’ 4” high.

189. MICHELANGELO BUONARROTI, David, 1501–1504. Marble, 13’ 5” high. Galleria dell’Accademia, Florence.

190. ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria Borghese, Rome.

192. Janine Antoni. Gnaw (detail) , 1992.

193. Giuseppe Penone Versailles Cedar, 2002-03, Cedar Wood, 600x170 cm

195. Unpainted Sculpture Charles Ray 1997 fiberglass, paint

196. David Smith, Cubi XIX, 1964. Stainless steel.

197. Damien Hirst, For the Love of God , 2008

200. Sculpture and the Expanded Field

203. Downscaled and Overthrown«, 2008 by Shahryar Nashat. "Public Figures" 1998-1999 Installation view at Metrotech Center Commons, Brooklyn, New York Fiberglass/resin, steel pipes, pipe fittings, 10 x 7 x 9 feet

204. Damián Ortega, 2002

205. Tim Hawkinson, “Signature”, 1993 School desk, paper, wood and metal; motorized

206. Do-Ho Suh"Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home“, 1999, Silk, 149 x 240 x 240 inches

207. RICHARD SERRA, Tilted Arc, 1981. Cor-Ten steel, 12’ x 120’ x 2 1/2”. Installed Federal Plaza, New York City by the General Services Administration, Washington D.C. Removed by the U.S. Government 1989.

212. Robert Smithson, Spiral Jetty, 1970

213. Nancy Holt, Sun Tunnel –1976 Nancy Holt – Ventilation IV: Hampton Air, 1992

215. Marco Evaristti