Smarthistory Logo
Smarthistory Logo
  • About
      • ABOUT SMARTHISTORY
      • What is Smarthistory?
      • Who is Smarthistory?
      • Is Smarthistory reliable?
      • Museum and institutional partners
      • Major donors
      • Press coverage
      • Our blog
      • Give us feedback
      • Contact us

      • At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. We believe that the brilliant histories of art belong to everyone, no matter their background.

        With 503 contributors from 201 colleges, universities, museums, and research centers, Smarthistory is the most-visited art history resource in the world.

  • For Learning
      • ART HISTORIES
      • Start here
      • Prehistoric
      • Africa
      • Americas
      • Asia
      • Ancient Mediterranean + Europe
      • Medieval Europe + Byzantine
      • The Islamic World
      • Europe 1300–1800
      • Europe 1800–1900
      • Pacific Islands
      • Modernisms 1900–1980
      • Art since 1980
      • TOPICS & COURSES
      • Art Appreciation
      • AP® Art History
      • A-Level Art History
      • History of photography
      • Creating and conserving
      • SPECIAL PROJECTS
      • The U.S. Civil War in Art
      • Seeing America
      • Not your grandfather’s art history: a BIPOC Reader
      • ARCHES: At-risk Cultural Heritage
      • Expanding the Renaissance
      • Across Cultures
      • Virtual Visits
  • Books
      • SMARTHISTORY BOOKS
      • Reframing Art History, a new kind of textbook
      • Guide to Byzantine Art
      • Guide to Ancient Roman Art
      • Guide to AP® Art History vol. 1 (#1–47)
      • Guide to AP® Art History vol. 2 (#48–98)
      • Guide to AP® Art History vol. 3 (#99–152)
      • See complete collection of titles
      • NEW TITLES
        • reframing art history cover smReframing Art History
          a new kind of textbook
        • Byzantine cover jpgGuide to Byzantine art
  • For Teaching
      • TOOLS FOR TEACHING
      • All content for teaching
      • Webinars past & present
      • Teaching with images: K-12
      • Syllabi
      • Do-it-yourself tools
        • UPCOMING EVENT
          • Dr. Elena FitzPatrick Sifford on casta paintings

            Oct.18.2023

            1:00–1:30 PM ET

            BIPOC Reader: Teaching Practices and Strategies with…

        • PAST EVENT
          • Dr. Elena FitzPatrick Sifford on casta paintings

            Apr.06.2022

            The Kaaba with Dr. Nancy Demerdash

  • Support
      • SUPPORT SMARTHISTORY
      • Donate
      • Contribute an essay

      • We created Smarthistory to provide students around the world with the highest-quality educational resources for art and cultural heritage—for free.

  • Search

All Results

Generic filters
Search in excerpt

Art since 1980

  • Browse this content
  • Beginner’s guide
    • Contemporary Art, an introduction
    • Postmodernism
    • The Case for Copying
    • The Black Atlantic
      • The Black Atlantic: What is the Black Atlantic?
      • The Black Atlantic: Identity and Nationhood
      • The Black Atlantic: Toppled Monuments and Hidden Histories
      • The Black Atlantic: Afterlives of Slavery in Contemporary Art
  • Cold War Germany and after
    • Anselm Kiefer
      • Shulamite
      • Bohemia Lies by the Sea
      • An interview with Anselm Kiefer
    • Sigmar Polke, Watchtower series
    • Gerhard Richter
      • The Cage Paintings (1-6)
      • Uncle Rudi
      • Betty
      • September
  • Art in the AIDS era
    • David Wojnarowicz, Untitled (One Day This Kid . . .)
    • Felix Gonzalez-Torres, “Untitled” (billboard of an empty bed)
    • Masami Teraoka, American Kabuki
    • Sue Coe, Aids won’t wait, the enemy is here not in Kuwait
    • Jean-Michel Basquiat, Horn Players
    • Keith Haring, Subway Drawings
    • Pepón Osorio
      • En la barberia no se llora (No Crying Allowed in the Barbershop)
      • Badge of Honor
  • Post-Cultural Revolution China
    • Luo Zhongli, Father
    • Zhang Daqian, Panorama of Mount Lu
    • Dropping a Han Dynasty Urn
    • The Case for Ai Weiwei
    • Xu Bing, Book from the Sky
    • Xu Zhen – ‘Artists Change the Way People Think’
  • Apartheid-era South Africa
    • Marlene Dumas, Models
    • The story of Ernest Cole, a black photographer in South Africa during apartheid
    • Jane Alexander, Butcher Boys
    • Santu Mofokeng, Train Churches
    • William Kentridge, drawing from Tide Table (Soho in Deck Chair)
    • Sue Williamson, For Thirty Years Next to His Heart
  • Young British Artists and art as commodity
    • Jeff Koons, Pink Panther
    • The YBAs: The London-based Young British Artists
    • Tracey Emin, My Bed
    • Chris Ofili, The Holy Virgin Mary
    • Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living
    • Marc Quinn, Self
    • Hans Haacke, Seurat’s “Les Poseuses” (small version), 1884-1975
  • Pictures generation and post-modern photography
    • Alfredo Jaar, A Logo for America
    • Barbara Kruger, Untitled (Your gaze hits the side of my face)
    • Jeff Wall, A View from an Apartment
    • Sally Mann, Blowing Bubbles
    • The Pictures Generation
    • Cindy Sherman
      • Untitled Film Still #21
      • Untitled #228
    • Carrie Mae Weems, Untitled (Woman Feeding Bird), from The Kitchen Table Series
    • Joel Sternfeld, On This Site—The Stonewall Inn
    • Stan Douglas, Every Building on 100 West Hastings
    • Will Wilson interview about The Critical Indigenous Photographic Exchange
    • Annie Leibovitz, Queen Elizabeth II
    • Trevor Paglen, The Black Sites—The Salt Pit, Northeast of Kabul, Afghanistan
    • Chris McCaw, Sunburned, GSP #166, Mohave/Winter Solstice
  • Revisiting histories
    • Christian Boltanski, Personnes, 2010
    • Nari Ward, We the People (black version)
    • Kara Walker
      • An interview with Kara Walker
      • Kara Walker, Darkytown Rebellion
      • Kara Walker, A Subtlety, or the Marvelous Sugar Baby
      • Kara Walker, Fons Americanus
    • Alison Saar, Topsy and the Golden Fleece
    • Kerry James Marshall
      • An interview with Kerry James Marshall about his series Mementos
      • Kerry James Marshall: Mastry
      • Kerry James Marshall on his process
    • Clarissa Rizal, Resilience Robe
    • Tenzing Rigdol, Pin drop silence: Eleven-headed Avalokiteshvara
    • Thornton Dial, Blood and Meat: Survival For The World
    • Titus Kaphar, The Cost of Removal
    • Omar Victor Diop: Black subjects in the frame
    • Wendy Red Star, 1880 Crow Peace Delegation
    • Yee I-Lann, Picturing Power #6…
    • Roger Shimomura, Diary: December 12, 1941
    • An interview with Fred Wilson about the conventions of museums and race
    • Ken Gonzales-Day, Erased Lynching Series
    • Kenseth Armstead, Surrender Yorktown 1781
    • Lam Tung Pang on “A day of two Suns”
    • Michael Rakowitz: Haunting the West
    • Abdoulaye Ndoye, Ahmed Baba
  • Mapping and migration
    • Julie Mehretu, Stadia II
    • Doris Salcedo, Shibboleth
    • Doris Salcedo: Third World Identity
    • Raúl de Nieves, Beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end
    • Julie Mehretu, HOWL, eon (I, II)
    • An interview with Alfredo Jaar
    • Jamie Wyeth, Kalounna in Frogtown
    • Yto Barrada, Ceuta Border, Illegally Crossing the Border into the Spanish Enclave of Ceuta, Tangier
    • Zineb Sedira – ‘The Personal is Political’
    • Suchitra Mattai, Exodus
  • Borderlands
    • Tanya Aguiñiga, Metabolizing the Border
    • Rafael Lozano-Hemmer, Border Tuner
    • Postcommodity arts collective
    • Richard Misrach, Border Cantos
    • Minerva Cuevas, Crossing of the Rio Bravo
    • Jaime Carrejo, Border/Land
    • Guadalupe Maravilla, Requiem For My Border Crossing
  • Figuration, the body, and representation
    • Browse this content
    • How did Lucian Freud present queer and marginalized bodies?
    • Lucian Freud, Standing by the Rags
    • Identity Politics: From the Margins to the Mainstream
    • Stephanie Syjuco, The Visible Invisible
    • Renée Stout, interview about Fetish #2
    • Wangechi Mutu
      • Wangechi Mutu, Preying Mantra
      • Wangechi Mutu, The NewOnes, will free Us
    • Marina Abramović, The Artist is Present
    • Rineke Dijkstra, Odessa, Ukraine, August 4, 1993
    • An interview with Maryam Hoseini
    • Jordan Casteel paints her community
    • Luchita Hurtado’s body of work
    • Shirin Neshat
      • Rebellious Silence, Women of Allah series
      • ‘Dreams Are Where Our Fears Live’
    • Kehinde Wiley
      • Rumors of War
      • Napoleon Leading the Army over the Alps
    • Yinka Shonibare, The Swing (After Fragonard)
    • Figures & Fictions: Santu Mofokeng
    • Kiki Smith, Lying with the Wolf
    • Catherine Opie
      • Self-Portrait/Cutting
      • Figure and Landscape series
    • Stefanie Jackson, Bluest Eye
    • Ellen Gallagher, DeLuxe
    • Ah Xian artist interview
    • Takashi Murakami
    • Will Wilson, Critical Indigenous Photographic Exchange
    • Lorna Simpson – ‘Everything I Do Comes from the Same Desire’
    • Amy Sherald, Precious Jewels by the Sea
    • Michelle Browder, Mothers of Gynecology
    • Douglas Coupland, Terry Fox Memorial
  • Social practice
    • Guerrilla Girls, ‘You Have to Question What You See’ (interview)
    • Ai Wei Wei, Remembering and the Politics of Dissent
    • Ai Wei Wei, Kui Hua Zi (Sunflower Seeds)
    • Marie Watt’s Companion Species (Speech Bubble): Blankets, Community, and Intersectionality
    • Tania Bruguera, The Francis Effect
    • Tania Bruguera, Immigrant Movement International
    • Theaster Gates on collecting
    • Danh Vo Interview: Art Should Estrange
    • Lida Abdul – ‘A Beautiful Encounter With Chance’
  • Public memory and the politics of place
    • An-My Lê, 29 Palms
    • Hock E Aye Vi Edgar Heap of Birds, Native Hosts (Arkansas)
    • Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii
    • Kerry James Marshall, Our Town
    • SAAM: Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995
    • Do Ho Suh, Rubbing/Loving
    • The National Memorial for Peace and Justice (Equal Justice Initiative)
    • Krzysztof Wodiczko, Monument
    • Adel Abidin, Memorial
    • Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People)
    • What’s in a map? Jaune Quick-to-See Smith’s State Names (2000)
    • Daniel Libeskind, Imperial War Museum North, Manchester, UK
    • Graciela Iturbide, Photographing Mexico
    • Contemporary Native American Architecture
    • Birdhead – ‘We Photograph Things That Are Meaningful To Us’
    • Artist Richard Bell – ‘My Art is an Act of Protest’
    • Yatika Starr Fields and mural painting
    • Contemporary politics and classical architecture
  • Landscape and ecology
    • Stéphane Couturier, Fenetre, Eastlake Greens, San Diego
    • Mark Dion, Neukom Vivarium
    • Maya Lin, Silver Upper White River
    • Courtney Leonard, ARTIFICE Ellipse, 2016
    • Sebastião Salgado’s Kuwait
    • Michel Tuffery, Pisupo Lua Afe (Corned Beef 2000)
    • James Turrell, Skyspace, the way of color
    • Emily Kame Kngwarreye, Earth’s Creation
    • Weaving the landscape: DY Begay’s The Edge
    • Roger Minick, Woman with Scarf at Inspiration Point, Yosemite National Park
    • Binh Danh, Bridalveil Fall, Yosemite CA, May 31, 2012
    • Wayne Thiebaud, Ponds and Streams
    • Noel Harding, The Elevated Wetlands
    • Artist Dale Harding – ‘Environment is Part of Who You Are’
    • Mel Chin, Paydirt
  • Digital culture
    • An interview with Jamian Juliano-Villani
    • Meriem Bennani’s Exploded Visions
    • Art, Race, and the Internet: Mendi + Keith Obadike’s Black.Net.Art Actions
    • Cao Fei, Building “RMB City”
    • Shahzia Sikander, The Last Post
  • Assemblage and materiality
    • Assemblage
    • Magdalene Anyango N. Odundo, Symmetrical Reduced Black Narrow-Necked Tall Piece
    • Nick Cave’s “Soundsuits”
    • Damián Ortega, Alias
    • Abraham Cruzvillegas, Autoconstrucción
    • Rebecca Belmore on Rising to the Occasion
    • El Anatsui
      • El Anatsui, Untitled
      • El Anatsui, Old Man’s Cloth
    • Mickalene Thomas on her Materials and Artistic Influences
    • Fred Wilson: Beauty & Ugliness
    • Kohei Nawa, PixCell-Deer#24
    • Zheng Chongbin on “I Look for the Sky”
    • An interview with artist Ogawa Machiko
    • Lares Feliciano, Memory Mirror installation
    • Mona Hatoum – ‘Nothing Is a Finished Project’
    • Jesús Rafael Soto, Houston Penetrable
    • Artist Profile: Sopheap Pich on Rattan, Sculpture, and Abstraction
    • Who is Rachel Whiteread?
    • Artist interview with Lee Bul about Willing To Be Vulnerable
    • Ellen Gallagher: Cutting
    • Shan Goshorn (Eastern Band Cherokee), Sealed Fate: Treaty of New Echota Protest Basket
    • Jeffrey Gibson, I’m Not Perfect
    • Richard Zane Smith (Wyandotte Nation), Wyandotte Feast Pot
    • Marilyn Spoon, Bandolier Bag
    • Rina Banerjee, commerce out of the Earth
  • Spirituality and transcendence
    • Mariko Mori, Pure Land
    • Bill Viola, The Crossing
    • Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths
    • Jack Whitten on Mapping the Soul
    • Lee Ufan
    • Richard Mayhew, Indigenous Spiritual Space

Art since 1980

  • Browse this content
  • Beginner’s guide
    • Contemporary Art, an introduction
    • Postmodernism
    • The Case for Copying
    • The Black Atlantic
      • The Black Atlantic: What is the Black Atlantic?
      • The Black Atlantic: Identity and Nationhood
      • The Black Atlantic: Toppled Monuments and Hidden Histories
      • The Black Atlantic: Afterlives of Slavery in Contemporary Art
  • Cold War Germany and after
    • Anselm Kiefer
      • Shulamite
      • Bohemia Lies by the Sea
      • An interview with Anselm Kiefer
    • Sigmar Polke, Watchtower series
    • Gerhard Richter
      • The Cage Paintings (1-6)
      • Uncle Rudi
      • Betty
      • September
  • Art in the AIDS era
    • David Wojnarowicz, Untitled (One Day This Kid . . .)
    • Felix Gonzalez-Torres, “Untitled” (billboard of an empty bed)
    • Masami Teraoka, American Kabuki
    • Sue Coe, Aids won’t wait, the enemy is here not in Kuwait
    • Jean-Michel Basquiat, Horn Players
    • Keith Haring, Subway Drawings
    • Pepón Osorio
      • En la barberia no se llora (No Crying Allowed in the Barbershop)
      • Badge of Honor
  • Post-Cultural Revolution China
    • Luo Zhongli, Father
    • Zhang Daqian, Panorama of Mount Lu
    • Dropping a Han Dynasty Urn
    • The Case for Ai Weiwei
    • Xu Bing, Book from the Sky
    • Xu Zhen – ‘Artists Change the Way People Think’
  • Apartheid-era South Africa
    • Marlene Dumas, Models
    • The story of Ernest Cole, a black photographer in South Africa during apartheid
    • Jane Alexander, Butcher Boys
    • Santu Mofokeng, Train Churches
    • William Kentridge, drawing from Tide Table (Soho in Deck Chair)
    • Sue Williamson, For Thirty Years Next to His Heart
  • Young British Artists and art as commodity
    • Jeff Koons, Pink Panther
    • The YBAs: The London-based Young British Artists
    • Tracey Emin, My Bed
    • Chris Ofili, The Holy Virgin Mary
    • Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living
    • Marc Quinn, Self
    • Hans Haacke, Seurat’s “Les Poseuses” (small version), 1884-1975
  • Pictures generation and post-modern photography
    • Alfredo Jaar, A Logo for America
    • Barbara Kruger, Untitled (Your gaze hits the side of my face)
    • Jeff Wall, A View from an Apartment
    • Sally Mann, Blowing Bubbles
    • The Pictures Generation
    • Cindy Sherman
      • Untitled Film Still #21
      • Untitled #228
    • Carrie Mae Weems, Untitled (Woman Feeding Bird), from The Kitchen Table Series
    • Joel Sternfeld, On This Site—The Stonewall Inn
    • Stan Douglas, Every Building on 100 West Hastings
    • Will Wilson interview about The Critical Indigenous Photographic Exchange
    • Annie Leibovitz, Queen Elizabeth II
    • Trevor Paglen, The Black Sites—The Salt Pit, Northeast of Kabul, Afghanistan
    • Chris McCaw, Sunburned, GSP #166, Mohave/Winter Solstice
  • Revisiting histories
    • Christian Boltanski, Personnes, 2010
    • Nari Ward, We the People (black version)
    • Kara Walker
      • An interview with Kara Walker
      • Kara Walker, Darkytown Rebellion
      • Kara Walker, A Subtlety, or the Marvelous Sugar Baby
      • Kara Walker, Fons Americanus
    • Alison Saar, Topsy and the Golden Fleece
    • Kerry James Marshall
      • An interview with Kerry James Marshall about his series Mementos
      • Kerry James Marshall: Mastry
      • Kerry James Marshall on his process
    • Clarissa Rizal, Resilience Robe
    • Tenzing Rigdol, Pin drop silence: Eleven-headed Avalokiteshvara
    • Thornton Dial, Blood and Meat: Survival For The World
    • Titus Kaphar, The Cost of Removal
    • Omar Victor Diop: Black subjects in the frame
    • Wendy Red Star, 1880 Crow Peace Delegation
    • Yee I-Lann, Picturing Power #6…
    • Roger Shimomura, Diary: December 12, 1941
    • An interview with Fred Wilson about the conventions of museums and race
    • Ken Gonzales-Day, Erased Lynching Series
    • Kenseth Armstead, Surrender Yorktown 1781
    • Lam Tung Pang on “A day of two Suns”
    • Michael Rakowitz: Haunting the West
    • Abdoulaye Ndoye, Ahmed Baba
  • Mapping and migration
    • Julie Mehretu, Stadia II
    • Doris Salcedo, Shibboleth
    • Doris Salcedo: Third World Identity
    • Raúl de Nieves, Beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end
    • Julie Mehretu, HOWL, eon (I, II)
    • An interview with Alfredo Jaar
    • Jamie Wyeth, Kalounna in Frogtown
    • Yto Barrada, Ceuta Border, Illegally Crossing the Border into the Spanish Enclave of Ceuta, Tangier
    • Zineb Sedira – ‘The Personal is Political’
    • Suchitra Mattai, Exodus
  • Borderlands
    • Tanya Aguiñiga, Metabolizing the Border
    • Rafael Lozano-Hemmer, Border Tuner
    • Postcommodity arts collective
    • Richard Misrach, Border Cantos
    • Minerva Cuevas, Crossing of the Rio Bravo
    • Jaime Carrejo, Border/Land
    • Guadalupe Maravilla, Requiem For My Border Crossing
  • Figuration, the body, and representation
    • Browse this content
    • How did Lucian Freud present queer and marginalized bodies?
    • Lucian Freud, Standing by the Rags
    • Identity Politics: From the Margins to the Mainstream
    • Stephanie Syjuco, The Visible Invisible
    • Renée Stout, interview about Fetish #2
    • Wangechi Mutu
      • Wangechi Mutu, Preying Mantra
      • Wangechi Mutu, The NewOnes, will free Us
    • Marina Abramović, The Artist is Present
    • Rineke Dijkstra, Odessa, Ukraine, August 4, 1993
    • An interview with Maryam Hoseini
    • Jordan Casteel paints her community
    • Luchita Hurtado’s body of work
    • Shirin Neshat
      • Rebellious Silence, Women of Allah series
      • ‘Dreams Are Where Our Fears Live’
    • Kehinde Wiley
      • Rumors of War
      • Napoleon Leading the Army over the Alps
    • Yinka Shonibare, The Swing (After Fragonard)
    • Figures & Fictions: Santu Mofokeng
    • Kiki Smith, Lying with the Wolf
    • Catherine Opie
      • Self-Portrait/Cutting
      • Figure and Landscape series
    • Stefanie Jackson, Bluest Eye
    • Ellen Gallagher, DeLuxe
    • Ah Xian artist interview
    • Takashi Murakami
    • Will Wilson, Critical Indigenous Photographic Exchange
    • Lorna Simpson – ‘Everything I Do Comes from the Same Desire’
    • Amy Sherald, Precious Jewels by the Sea
    • Michelle Browder, Mothers of Gynecology
    • Douglas Coupland, Terry Fox Memorial
  • Social practice
    • Guerrilla Girls, ‘You Have to Question What You See’ (interview)
    • Ai Wei Wei, Remembering and the Politics of Dissent
    • Ai Wei Wei, Kui Hua Zi (Sunflower Seeds)
    • Marie Watt’s Companion Species (Speech Bubble): Blankets, Community, and Intersectionality
    • Tania Bruguera, The Francis Effect
    • Tania Bruguera, Immigrant Movement International
    • Theaster Gates on collecting
    • Danh Vo Interview: Art Should Estrange
    • Lida Abdul – ‘A Beautiful Encounter With Chance’
  • Public memory and the politics of place
    • An-My Lê, 29 Palms
    • Hock E Aye Vi Edgar Heap of Birds, Native Hosts (Arkansas)
    • Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii
    • Kerry James Marshall, Our Town
    • SAAM: Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995
    • Do Ho Suh, Rubbing/Loving
    • The National Memorial for Peace and Justice (Equal Justice Initiative)
    • Krzysztof Wodiczko, Monument
    • Adel Abidin, Memorial
    • Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People)
    • What’s in a map? Jaune Quick-to-See Smith’s State Names (2000)
    • Daniel Libeskind, Imperial War Museum North, Manchester, UK
    • Graciela Iturbide, Photographing Mexico
    • Contemporary Native American Architecture
    • Birdhead – ‘We Photograph Things That Are Meaningful To Us’
    • Artist Richard Bell – ‘My Art is an Act of Protest’
    • Yatika Starr Fields and mural painting
    • Contemporary politics and classical architecture
  • Landscape and ecology
    • Stéphane Couturier, Fenetre, Eastlake Greens, San Diego
    • Mark Dion, Neukom Vivarium
    • Maya Lin, Silver Upper White River
    • Courtney Leonard, ARTIFICE Ellipse, 2016
    • Sebastião Salgado’s Kuwait
    • Michel Tuffery, Pisupo Lua Afe (Corned Beef 2000)
    • James Turrell, Skyspace, the way of color
    • Emily Kame Kngwarreye, Earth’s Creation
    • Weaving the landscape: DY Begay’s The Edge
    • Roger Minick, Woman with Scarf at Inspiration Point, Yosemite National Park
    • Binh Danh, Bridalveil Fall, Yosemite CA, May 31, 2012
    • Wayne Thiebaud, Ponds and Streams
    • Noel Harding, The Elevated Wetlands
    • Artist Dale Harding – ‘Environment is Part of Who You Are’
    • Mel Chin, Paydirt
  • Digital culture
    • An interview with Jamian Juliano-Villani
    • Meriem Bennani’s Exploded Visions
    • Art, Race, and the Internet: Mendi + Keith Obadike’s Black.Net.Art Actions
    • Cao Fei, Building “RMB City”
    • Shahzia Sikander, The Last Post
  • Assemblage and materiality
    • Assemblage
    • Magdalene Anyango N. Odundo, Symmetrical Reduced Black Narrow-Necked Tall Piece
    • Nick Cave’s “Soundsuits”
    • Damián Ortega, Alias
    • Abraham Cruzvillegas, Autoconstrucción
    • Rebecca Belmore on Rising to the Occasion
    • El Anatsui
      • El Anatsui, Untitled
      • El Anatsui, Old Man’s Cloth
    • Mickalene Thomas on her Materials and Artistic Influences
    • Fred Wilson: Beauty & Ugliness
    • Kohei Nawa, PixCell-Deer#24
    • Zheng Chongbin on “I Look for the Sky”
    • An interview with artist Ogawa Machiko
    • Lares Feliciano, Memory Mirror installation
    • Mona Hatoum – ‘Nothing Is a Finished Project’
    • Jesús Rafael Soto, Houston Penetrable
    • Artist Profile: Sopheap Pich on Rattan, Sculpture, and Abstraction
    • Who is Rachel Whiteread?
    • Artist interview with Lee Bul about Willing To Be Vulnerable
    • Ellen Gallagher: Cutting
    • Shan Goshorn (Eastern Band Cherokee), Sealed Fate: Treaty of New Echota Protest Basket
    • Jeffrey Gibson, I’m Not Perfect
    • Richard Zane Smith (Wyandotte Nation), Wyandotte Feast Pot
    • Marilyn Spoon, Bandolier Bag
    • Rina Banerjee, commerce out of the Earth
  • Spirituality and transcendence
    • Mariko Mori, Pure Land
    • Bill Viola, The Crossing
    • Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths
    • Jack Whitten on Mapping the Soul
    • Lee Ufan
    • Richard Mayhew, Indigenous Spiritual Space

Clarissa Rizal, Resilience Robe

by Lily Hope at Portland Art Museum and Dr. Beth Harris

Clarissa Rizal, Resilience Robe, 2014, merino wool, 64 x 53 inches (Portland Art Museum)

Cite this page as: Lily Hope at Portland Art Museum and Dr. Beth Harris, "Clarissa Rizal, Resilience Robe," in Smarthistory, March 21, 2018, accessed October 2, 2023, https://smarthistory.org/resilience-robe-2/.
Flickr Icon

Browse Smarthistory images for teaching & learning!

Sign up for our newsletter!

Receive occasional emails about new Smarthistory content.

Smarthistory is a nonprofit organization

At Smarthistory we believe art has the power to transform lives and to build understanding across cultures. We believe that the brilliant histories of art belong to everyone, no matter their background. Smarthistory’s free, award-winning digital content unlocks the expertise of hundreds of leading scholars, making the history of art accessible and engaging to more people, in more places, than any other publisher.

  • Donate
  • Contact Us
facebook icon
twitter icon
instagram icon
youtube icon
flickr icon
  • About Smarthistory
  • Smarthistory’s blog
  • Contribute an essay
  • Content editors and contributors

This work is licensed under a Creative Commons
Attribution-NonCommercial-ShareAlike 4.0 International License