Most of the following items are available on a special
Maya Lin Reserve shelf in the Art Library.
Lin, Maya Ying. Boundaries. New York, Simon & Schuster,
Lin writes candidly and informally about her goals, working methods,
the reception of her public art, and the circumstances surrounding
the creation of many of her works. Excellent illustrations.
Lin, Maya Ying. Maya Lin. Milan, Electa; Rome, American
Academy in Rome, 1998. 99p.
Catalog of an exhibition that focused on the relationship of Lin's
maquettes and models to her finished works. Introduction by Peter
Boswell, then Heiskell Fine Arts Director at the Academy. Among
the essays are Vincent Scully's "Vietnam Veterans Memorial,"
in which he states that the VVM "has to be seen not only as
the most important monument but also as the single most significant
work of architecture to be constructed in the United States during
the second half of this century," and Michael Brenson's essay,
"Maya Lin's time," reprinted from the SECCA catalog, Maya
Lin: topologies (see next item). Bibliography.
Lin, Maya Ying. Maya Lin: topologies. Winston-Salem,
Southeastern Center for Contemporary Art, 1998. 56p.
Documents an exhibition, subsequently circulated to several other
venues, of Lin's work organized by Jeff Fleming, then chief curator
of SECCA. Includes Fleming's introductory essay, a brief essay by
Terri Dowell-Dennis, SECCA curator of education, on the Winston
Park Youth Landscape Project, a restoration effort that was inspired
by Lin's presence at SECCA as part of its "Artist and the Community"
program. Also includes critic Michael Brenson's "Maya Lin's
time," the most insightful essay that has been written on Lin's
Lin, Maya Ying. Timetable: Maya Lin. Stanford, CA, Iris
& B. Gerald Cantor Center for the Visual Arts, [2002?]. 39p.
Brief statements by Lin about concepts of time accompany a series
of photographs of the piece.
Rogers, Sarah J. Maya Lin: public/private. Columbus,
Ohio, Wexner Center for the Arts, Ohio State University, 1994. 39p.
Catalog of an exhibition that explores the dichotomy between Lin's
large-scale public works, such as the VVM, and the small studio
sculptures made of materials like beeswax, lead, and shattered glass
that she creates for herself. The exhibition celebrated Lin's period
in 1992-93 as artist in residence at the Wexner Center. The centerpiece
of the show, and a prime example of Lin's "public" art,
was Groundswell, the permanent environmental sculpture she made
for the Wexner. The catalog contains a conversation between Lin
and Sarah Rogers, director of exhibitions at the Wexner, in which
Lin discusses the origins of Groundswell and also talks about how
she creates the "private" works.
Scruggs, Jan C. and Swerdlow, Joel L. To heal a nation:
the Vietnam Veterans Memorial. New York, Harper & Row, 1985.
Intense and absorbing history of the VVM by Vietnam-veteran Scruggs,
who had the original idea for a monument, organized the Vietnam
Veterans Memorial Fund, and helped lead the fight for acceptance
of the Lin design. Scholarly accounts are Mary McLeod's "The
battle for the monument: the Vietnam Veterans Memorial," in
Hélène Lipstadt's The experimental tradition: essays
on competitions in architecture, New York, Architectural League
of New York; Princeton Architectural Press, 1989, p.115-137, and
"Vietnam Veterans Memorial," by Nicholas J. Capasso, in
Tod Marder's The critical edge: controversy in recent American
architecture, Cambridge, MIT Press, 1985, p.188-202.
Finkelpearl, Tom, "The anti-monumental work of Maya Lin,"
Public art review, v.8, no.1 (Fall/winter, 1996), p.5-9.
Wide-ranging interview in which Lin discusses the VVM, Civil Rights
Memorial, Topo, and a project for Federal Courthouse Plaza in New
Hawthorne, Christopher, "Maya Lin, America's newest urbanist,"
Metropolis, March, 2002, p.2-8.
Much information about Lin's recently completed park in Grand Rapids
and the aesthetic and political issues that the project involved.
Lin also discusses her current studio practices.
Heartney, Eleanor, "Distillations of landscape,"
Art in America, v.86, no.9 (Sept. 1998), p.86-89, 137.
Intelligent review of the "Maya Lin: topologies" exhibition
that originated at the Southeastern Center for Contemporary Art
(see entry for catalog in Books section above).
Menand, Louis, "Profiles: the reluctant memorialist,"
The New Yorker, v.78, no.18 (July 8, 2002), p.54-65.
Particularly informative in its reporting of Lin's current projects,
including activity related to a possible Ground Zero memorial. Also
has the best brief account of the history of the VVM, as told from
Lin's point of view.
Rabinowitz, Cay Sophie, "Making waves: Cay Sophie Rabinowitz
interviews Maya Lin," Art papers, v.24, no.2, (March/April
Lin discusses differences among the various categories of her work-studio
pieces, memorials, site-specific sculpture, architecture. She talks
at length about the origins of Wave Field, the concept of time in
the Civil Rights Memorial, expresses admiration for Jochen Gerz's
Memorial against Fascism (Hamburg, Germany), and discusses
her recent chair design for Knoll.
Stein, Judith E., "Space and place," Art in America,
v.82, no.12 (Dec. 1994), p.66-71, 117.
Retrospective assessment of Lin's career to date, beginning with
the Wexner Center exhibition (see entry for catalog in Books section
above) and its centerpiece, the site-specific sculpture, Groundswell.
Maya Lin: a strong, clear vision, videocasette, 98 min.,
American Film Foundation, Sanders & Mock Productions, Santa
Scenes of Lin at work on various projects, with voiceovers by her
and interviews of her. Striking footage of meetings, hearings, and
ceremonies connected with the VVM and the Civil Rights Memorial.
Won the 1995 Academy Award for best feature documentary.
by Alex Ross, Stanford University (c)2002.