<strong>ACEROL</strong>, Ali
<em>Untitled</em>
Photograph
24 x 20"
A black and white image of a white Chevron uniform shirt hanging from the top of a door.
<strong>ACEROL</strong>, Ali
b Bursa, 1951
Gift of Laurence A. Rickels
1982
2011.004.001
<strong>ACEROL</strong>, Ali
<em>Into Africa</em>
Acrylic on canvas
72 x 53"
In this work an image of Africa, painted in black, is combined with a gold-colored image of Germany. The background of the painting is made up of several representations of hand gestures used in deaf sign language, a reference to the Nazi program which sterilized the deaf with the goal of creating a superior race. The gestures translate a story written by Rickels in the chapter, “Into Africa,” part of his book Nazi Psychoanalysis–Crypto Fetishism. The narrative surrounds an early female German pilot who was among the first to fly to Africa and whose biography was co-opted for propaganda purposes by the Nazis.
<strong>ACEROL</strong>, Ali
b Bursa, 1951
Gift of Laurence A. Rickels
2002
2011.004.002
<strong>ALLEN</strong>, Geoffrey
<em>Squeak</em>
Ink and pencil on paper
30 x 20"
<strong>ALLEN</strong>, Geoffrey
Australian, 1924-2000
Gift of Laurence A. Rickels
1999
2012.005.001
<strong>ARNOLD</strong>, Skip
<em>Action #1302</em>
Polaroid
4 x 5"
<strong>ARNOLD</strong>, Skip
United States, b. 1957
Gift of Laurence A. Rickels
1997
2012.005.002
<strong>ARNOLD</strong>, Skip
<em>Action #1303</em>
Polaroid
4 x 5"
<strong>ARNOLD</strong>, Skip
United States, b. 1957
Gift of Laurence A. Rickels
1997
2012.005.003
<strong>BARTON</strong>, Nancy
<em>Fort Da Souvenir #3</em>
Photograph and collage
37 x 27"
The title of this work comes from the expression “Fort/da” which refers to the game Freud observed his eighteen-month old grandson playing. The child would repeatedly throw objects while saying “fort” (gone) and upon finding them say “da” (there). In this game, according to Freud, the child was staging and restaging the disappearance of his mother and this, in turn, was akin to processing a traumatic event. In Fort da Souvenir #3 Barton uses this work as a means of similarly processing the traumatic death of her brother Bruce Barton.
<strong>BARTON,</strong> Nancy
United States, b. 1957
Gift of Laurence A. Rickels
1996
2011.004.004
<strong>BARTON</strong>, Nancy and <strong>GLASS</strong>, Michael
<em>One Head, One Hairdo</em>
C-Print
22 x 22"
<strong>BARTON,</strong> Nancy and <strong>GLASS</strong>, Michael
United States, b. 1957
Gift of Laurence A. Rickels
1990
2011.004.012
<strong>BARTON</strong>, Nancy
<em>Untitled (Dragula)</em>
C-Print
27 1/4 x 22 1/4"
These five portraits of Rickels were originally made as book covers for Nazi Psych- analysis his three-volume scholarly publication. In the end, however, the portraits were reproduced as black-and-white images in the books.
<strong>BARTON</strong>, Nancy
United States, b. 1957
Gift of Laurence A. Rickels
1996
2011.004.005
<strong>BARTON</strong>, Nancy
<em>Untitled (Ectoplasm)</em>
C-Print
27 1/4 x 22 1/4"
These five portraits of Rickels were originally made as book covers for Nazi Psych- analysis his three-volume scholarly publication. In the end, however, the portraits were reproduced as black-and-white images in the books.
<strong>BARTON</strong>, Nancy
United States, b. 1957
Gift of Laurence A. Rickels
1996
2011.004.006
<strong>BARTON</strong>, Nancy
<em>Psy Fi</em>
C-Print
27 1/4 x 23 3/4"
These five portraits of Rickels were originally made as book covers for Nazi Psych- analysis his three-volume scholarly publication. In the end, however, the portraits were reproduced as black-and-white images in the books.
<strong>BARTON</strong>, Nancy
United States, b. 1957
Gift of Laurence A. Rickels
1995
2011.004.007
<strong>BARTON</strong>, Nancy
<em>Untitled-Testing</em>
C-Print
27 1/4 x 23"
These five portraits of Rickels were originally made as book covers for Nazi Psych- analysis his three-volume scholarly publication. In the end, however, the portraits were reproduced as black-and-white images in the books.
<strong>BARTON</strong>, Nancy
United States, b. 1957
Gift of Laurence A. Rickels
1997
2011.004.008
<strong>BARTON</strong>, Nancy
<em>Tot's Tomb</em>
C-Print
27 1/4 x 23"
These five portraits of Rickels were originally made as book covers for Nazi Psych- analysis his three-volume scholarly publication. In the end, however, the portraits were reproduced as black-and-white images in the books. The title and doll figures in this portrait refer to an essay Rickels wrote called “Tot’s Tomb.” Of Nancy Barton, Rickels has said: “Barton’s ongoing work of mourning (or unmourning) inspired me to write about and with her. But what underwrites our collaboration of writing and light-writing is the hold the missing have on us and through us.”
<strong>BARTON</strong>, Nancy
United States, b. 1957
Gift of Laurence A. Rickels
1997
2011.004.009
<strong>BARTON</strong>, Nancy
<em>Mummy and Dada</em>
C-Print
Two Panels: 24 1/2 x 17"(a,c) each and central panel 27 1/4 x 17" (b)
In this triptych Nancy Barton makes a pun between the phrase “mom and dad” and mummy and dada. Like a child that rebels against her parents, Barton rebels against Dada, the pivotal avant-garde art movement from the early 20th c. that emphasized the absurd. By writing derogatory things in the books of famous French authors, George Ribemont-Dessaignes and Francis Picabia, both associated with Dada, Barton registers her disdain for the movement.
<strong>BARTON</strong>, Nancy
United States, b. 1957
Gift of Laurence A. Rickels
1999
2011.004.010a-c
<strong>BARTON</strong>, Nancy and <strong>GIL</strong>, Alexander
<em>Untitled (computer sketch for Bottle Baby installation)</em>
C-Print
16 x20"
In Freudianism mourning allows an individual to fully divest themselves of the burden of grief and accompanying anxiety, allowing an individual to move on and fully embrace new experiences and people. In his writings, Rickels makes the case that the population of California suffers from an inability to mourn or even acknowledge death, which he refers to as “unmourning.” Unmourning is an important concept in both Rickels’ and artist Nancy Barton’s work. In a catalog essay Rickels writes about this work, part of an installation, stating that it “excavates a séance showdown between double aspects and agents of unmourning.”
<strong>BARTON</strong>, Nancy and <strong>GIL</strong>, Alexander
United States, b. 1957
Gift of Laurence A. Rickels
1994
2011.004.011
<strong>BARTON</strong>, Nancy; <strong>GLASS</strong>, Michael
<em>Black Narcissus</em>
C-Print
27 x 22"
<strong>BARTON</strong>, Nancy; <strong>GLASS</strong>, Michael
(Barton) United States, b. 1957
Gift of Laurence A. Rickels
1990
2011.004.013
<strong>BERENS,</strong> Stephen
<em>Punctuation: Where we agree, quotation marks</em>
C-Print
5 5/8 x 47 3/8"
two parts (a) 5 5/8 x 39 1/2" ; (b) 5 5/8 x 7 5/8"
<strong>BERENS</strong>, Stephen
United States
Gift of Laurence A. Rickels
1996
2011.004.014a,b
<strong>BESEMER</strong>, Linda
<em>Study for Large Horizontal Fold</em>
Watercolor, colored pencil, gouache collage on paper
10 x 18" (image); 22 x 30" (sheet); 24 7/8 x 31 1/2" (frame)
<strong>BESEMER</strong>, Linda
United States, b. 1957
Gift of Laurence A. Rickels
2001
2011.004.015
<strong>BIEL</strong>, Joseph
<em>Untitled 11 (man in bowtie and jacket)</em>
Pencil on paper
11 x 7 1/2" (framed)
<strong>BIEL</strong>, Joseph
United States, b. 1966
Gift of Laurence A. Rickels
2001
2012.005.004
<strong>BIEL</strong>, Joseph
<em>Untitled 16 (garden hose in the face)</em>
Pencil on paper
11 x 7 1/2" (framed)
<strong>BIEL</strong>, Joseph
United States, b. 1966
Gift of Laurence A. Rickels
2001
2012.005.005
<strong>BIEL</strong>, Joseph
<em>Untitled (teacher hanging)</em>
Pencil on paper
11 x 7 1/2" (framed)
Drawing is Joseph Biel’s preferred medium as he believes its directness and immediacy allow him to more readily connect with, and engage the viewer. His drawings with their emphasis on precision give one the sense that he is capturing situations, people and things he has directly observed. In this drawing, Biel seems to convey that he is documenting, with diagrammatical glee, the suicide of a teacher.
<strong>BIEL</strong>, Joseph
United States, b. 1966
Gift of Laurence A. Rickels
2001
2012.005.006
<strong>BIEL</strong>, Joseph
<em>Untitled (open eyes)</em>
Pencil on paper
11 x 7 1/2" (framed)
<strong>BIEL</strong>, Joseph
United States, b. 1966
Gift of Laurence A. Rickels
2001
2012.005.007
<strong>BIRCHBY</strong>, Chris
<em>Untitled</em>
2002
Screenprint
12 x 10"
<strong>BIRCHBY</strong>, Chris
United States
Gift of Laurence A. Rickels
2002
2012.005.032
<strong>BRONSON</strong>, Carl
<em>Stitching the Ass Nay</em>
pencil and mylar on paper
15 x 12 x 1 1/2"
<strong>BRONSON</strong>, Carl
United States
Gift of Laurence A. Rickels
1996
2011.004.016
<strong>BRONSON</strong>, Carl
<em>That Says Nice Things</em>
enamel on aluminum
37 x 28" (image and aluminum support)
<strong>BRONSON</strong>, Carl
United States
Gift of Laurence A. Rickels
1996
2011.004.017
<strong>BRONSON</strong>, Carl
<em>Nice, Very Nice</em>
gouache & pencil on paper
14 x 17"
<strong>BRONSON</strong>, Carl
United States
Gift of Laurence A. Rickels
1996
2011.004.018
<strong>BRONSON</strong>, Jessica
<em>Mediterranean Subtitles for Snowy Landscapes</em>
monitor, laser disc player, acrylic cart and cables, 2/3
<strong>BRONSON</strong>, Jessica
United States, b. 1963
Gift of Laurence A. Rickels
1997
2011.004.019
<strong>BRYANT</strong>, Elizabeth
<em>White Sands, New Mexcio/16th Centruy British Maze</em>
Found Placemat in Plexi frame
9 1/2 x 12 1/2" (image); 14 3/8 x 17 1/2" (frame)
<strong>BRYANT</strong>, Elizabeth
United States
Gift of Laurence A. Rickels
1994
2011.004.020
<strong>CALLISTER</strong>, Jane
<em>Perch</em>
Acylic on panel
28 x 43 1/4"
<strong>CALLISTER</strong>, Jane
United States, b. 1963
Gift of Laurence A. Rickels
2003
2011.004.021
<strong>CALVIN</strong>, Brian
<em>Dud</em>
Ink on paper
14 x 10 1/8"
<strong>CALVIN</strong>, Brian
United States, b. 1966
Gift of Laurence A. Rickels
2002
2012.005.009
<strong>CARSON,</strong> Karen
<em>Study for Sandwich</em>
Collage
30 1/2 x 22"
Carson completed this work when she was teaching in Las Vegas in the 1990s. Las Vegas is what the artist characterizes as a “total here and now culture” where people can forget their past and pay no attention to the future. Carson found this ethos, along with a gratitude for life, reflected in Zen Buddhism, which she embraced following a health crisis. Study for Sandwich uses the same pop signage associated with Las Vegas and a pithy statement (“birth—thank you—death”) to encapsulate these concepts.
<strong>CARSON</strong>, Karen
United States, b. 1943
Gift of Laurence A. Rickels
1994
2011.004.023
<strong>CARSON</strong>, Karen
<em>The Hobble fire, Study 1</em>
ink, acrylic on paper
30 1/2 x 22"
<strong>CARSON</strong>, Karen
United States, b. 1943
Gift of Laurence A. Rickels
2003
2011.004.024
<strong>CONNALLY</strong>, Dan
<em>Untitled (Thermidor)</em>
oil on panel
24 x 24" (panel)
Brightly colored painting of an abstracted horse; image flush with edges
<strong>CONNALLY</strong>, Dan
United States, b. 1956
Gift of Laurence A. Rickels
1997
2011.004.022
<strong>CORDER</strong>, Parnell
<em>Untitled</em>
2001
pastel and graphite on paper
24 x 18"
<strong>CORDER</strong>, Parnell
United States
Gift of Laurence A. Rickels
2001
2012.005.021
<strong>CORDER</strong>, Parnell
<em>Untitled</em>
2000
Watercolor on paper
11 x 7 1/2"
<strong>CORDER</strong>, Parnell
United States
Gift of Laurence A. Rickels
2000
2012.005.022
<strong>CORDER</strong>, Parnell
<em>Untitled</em>
2000
Watercolor on paper
11 x 7 1/2"
<strong>CORDER</strong>, Parnell
United States
Gift of Laurence A. Rickels
2000
2012.005.023
<strong>COUGHLAN</strong>, Michael
<em>Untitled</em>
colored pencil on paper
17 x 14" (image); 20 x 17" (frame)
<strong>COUGHLAN</strong>, Michael
United States
Gift of Laurence A. Rickels
2001
2011.004.025
<strong>COUGHLAN</strong>, Michael & <strong>FELICE</strong>, Jory
<em>Spinoza's Back</em>
1998
Ink on paper
12 x 19 1/2"
<strong>COUGHLAN</strong>, Michael & <strong>FELICE</strong>, Jory
Michael Coughlan, Jory Felice
Gift of Laurence A. Rickels
1998
2012.005.012
<strong>COUGHLAN</strong>, Michael & <strong>FELICE</strong>, Jory
<em>Untitled (Cat Shoe)</em>
1998
Ink on paper
12 x 19 1/2"
<strong>COUGHLAN</strong>, Michael & <strong>FELICE</strong>, Jory
Michael Coughlan, Jory Felice
Gift of Laurence A. Rickels
1998
2012.005.013
<strong>COUGHLAN</strong>, Michael & <strong>FELICE</strong>, Jory
<em>Animals</em>
1998
Ink on paper
12 x 19 1/2"
<strong>COUGHLAN</strong>, Michael &<strong> FELICE</strong>, Jory
Michael Coughlan, Jory Felice
Gift of Laurence A. Rickels
1998
2012.005.010
<strong>COUGLAN</strong>, Michael & <strong>FELICE</strong>, Jory
<em>It Doesn't Taste Like Chicke</em>n
1998
Ink on paper
12 x 19 1/2"
<strong>COUGLAN</strong>, Michael & <strong>FELICE</strong>, Jory
Michael Coughlan, Jory Felice
Gift of Laurence A. Rickels
1998
2012.005.011
<strong>CROTTY</strong>, Russell
<em>M20 The Trifid Nebula in Sagittarius</em>
India ink on paper
17 x 14"
<strong>CROTTY</strong>, Russell
United States, b. 1956
Gift of Laurence A. Rickels
1998
2011.004.026
<strong>DUFF</strong>, Dana
<em>1970, Claremont, California, Pomona College, Gladys K. Montgomery Art Center Gallery (Michael Asher): primary image test #5</em>
Watercolor on paper
20 x 24"
<strong>DUFF</strong>, Dana
United States
Gift of Laurence A. Rickels
2001
2011.004.027
<strong>FINLEY</strong>, Chris
<em>Bug-Eyed Bad Backed Buddies</em>
India ink on Arches paper
22 1/2 x 30"
<strong>FINLEY</strong>, Chris
United States, b. 1971
Gift of Laurence A. Rickels
1997
2011.004.028
<strong>GIL</strong>, Alexander
<em>Alex and Her</em>
1994
Print, diptych
16 x 20" ea.
Diptych of female squatting in red and yellows joined by a torquoise-colored panel.
<strong>GIL</strong>, Alexander
United States
Gift of Laurence A. Rickels
1994
2012.005.014a,b
<strong>GREEN</strong>, Taft
<em>Concept Conic I: Points, Lines, Planes</em>
2006
Giclee
24 x 17 1/2"
<strong>GREEN</strong>, Taft
United States, b. 1972
Gift of Laurence A. Rickels
2006
2012.005.031
<strong>HAMMERLEIN</strong>, Chris
<em>Not an African</em>
1996
Ink on paper
7 1/4 x 11 1/4"
<strong>HAMMERLEIN</strong>, Chris
Gift of Laurence A. Rickels
1996
2012.005.015
<strong>HAMMERLEIN</strong>, Chris
<em>Best in the West</em>
1996
Ink on paper
7 1/4 x 11 1/4"
<strong>HAMMERLEIN</strong>, Chris
Gift of Laurence A. Rickels
1996
2012.005.016
<strong>HASSETT</strong>, Shane
<em>Façade</em>
Graphite on rag board
16 1/8 x 22 1/4"
<strong>HASSETT</strong>, Shane
Gift of Laurence A. Rickels
1997
2011.004.029
<strong>HASSETT</strong>, Shane
<em>Ruin</em>
Graphite and watercolor on paper
18 x 24"
<strong>HASSETT</strong>, Shane
Gift of Laurence A. Rickels
1997
2011.004.030
<strong>HURD</strong>, Steve
<em>McMemories</em>
Oil on canvas
39 1/2 x 52"
<strong>HURD</strong>, Steve
United Staes, b. 1956
Gift of Laurence A. Rickels
1996
2011.004.031
<strong>JOHNSON</strong>, Kathleen
<em>Finish 24</em>
Unique Ektacolor print on lucite
5 7/8 x 8 7/8" (sight image); 10 x 13 1/2 (frame)
<strong>JOHNSON</strong>, Kathleen
Gift of Laurence A. Rickels
1997
2011.004.032
<strong>JOHNSON</strong>, Kathleen
<em>Finish 25</em>
Unique Ektacolor print on lucite
10 x 13"
<strong>JOHNSON</strong>, Kathleen
Gift of Laurence A. Rickels
1997
2011.004.033
<strong>JOHNSON</strong>, Kathleen
<em>Finish 4</em>
Unique Ektacolor print on lucite
10 x 13"
<strong>JOHNSON</strong>, Kathleen
Gift of Laurence A. Rickels
1997
2011.004.034
<strong>JONES</strong>, Liam
<em>Construction #25</em>
Acrylic on canvas
12 x 24"
<strong>JONES</strong>, Liam
United States
Gift of Laurence A. Rickels
2003
2011.004.035
<strong>KHERADYAR</strong>, Habib
<em>Vertigo</em>
1993
Nylons, altered coat hanger, wax and acrylic on panel
11 x 8 3/4 X 4 1/2"
<strong>KHERADYAR</strong>, Habib
Gift of Laurence A. Rickels
1993
2011.004.036
<strong>LABELLE</strong>, Charles
<em>IM</em>
C-Print
23 1/4 x 15 1/2"
<strong>LABELLE</strong>, Charles
b. Iran, 1964, United States
Gift of Laurence A. Rickels
2002
2011.004.037
<strong>LATTU</strong>, Brandon
<em>Beacon</em>
Photograph
8 x 10"
<strong>LATTU</strong>, Brandon
United States, b. 1970
Gift of Laurence A. Rickels
1995
2011.004.038
<strong>LATTU</strong>, Brandon
<em>Swarm</em>
Photograph
5 x 7"
<strong>LATTU</strong>, Brandon
United States, b. 1970
Gift of Laurence A. Rickels
1997-1998
2011.004.039
<strong>LEE</strong>, Joseph
Vida VI
Acrylic enamel on posterboard
28 x 22"
<strong>LEE</strong>, Joseph
b. Hong Kong, 1940
Gift of Laurence A. Rickels
1998
2011.004.040
<strong>LEVINE</strong>, Robert
<em>Equiponderant, Ultrastructure…</em>
Ink on paper
9 x 12"
<strong>LEVINE</strong>, Robert
United States, b. 1962
Gift of Laurence A. Rickels
2000
2011.004.041
<strong>LIGHTBODY</strong>, Joyce
<em>Brick 1 & Brick 2 (diptych)</em>
Mixed Media on paper
4 x 6 1/2 x 1 5/8"
<strong>LIGHTBODY</strong>, Joyce
United States, b. 1954
Gift of Laurence A. Rickels
1996
2011.004.042a,b
<strong>LINDEN</strong>, Ron
<em>Ohfey</em>
2003
Acrylic on paper
25 x 25"
<strong>LINDEN</strong>, Ron
United States
Gift of Laurence A. Rickels
2003
2012.005.017
<strong>LINDEN</strong>, Ron
<em>Picabia</em>
2004
Acrylic on canvas
8 x 10"
<strong>LINDEN</strong>, Ron
United States
Gift of Laurence A. Rickels
2004
2012.005.018
<strong>LONDON</strong>, Laura
<em>Untitled (Studio Portrait with Fake Tattoos #2)</em>
Unique polacolor print
9 x 9"
<strong>LONDON</strong>, Laura
United States, b. 1969
Gift of Laurence A. Rickels
1997
2011.004.043
<strong>LONDON</strong>, Laura
<em>True Self Portrait 6</em>
Lightjet cibachrome
30 x 30"
In her practice as a photographer, Laura London explores the inner life of teens. In the summer of 1996 London met and befriended Naomi, a punk rock teenager whom she photographed several times. London came to see that the tough and seemingly invulnerable person Naomi projected was actually masking a sweet, young girl. For Rickels, adolescents are representations of the unconscious, as they absorb and reflect all manner of mass media which in turn represents our secret wishes and desires. In an essay on London’s work, Rickels explains his thoughts, even co-opting a manner similar to the way teens typically talk: “London is an explorer of the Teen Age, you know the age, like, you know, I don’t know, the one we live in. The teen in our midst, the inner teen, is the measure and metabolism of what’s most pressing right now on the edge of the time to come.”
<strong>LONDON</strong>, Laura
United States, b. 1969
Gift of Laurence A. Rickels
1998
2011.004.044
<strong>LUTZ</strong>, Susan
<em>View from Root Glacier Looking East, Alaska No. 13.05</em>
C-Print
12 x 18"
<strong>LUTZ</strong>, Susan
United States
Gift of Laurence A. Rickels
1997
2011.004.045
<strong>LUTZ</strong>, Susan
<em>Glacial Ice Floating on Prince William Sound, Near Columbia Glacier, Alaska, No. 14.32</em>
C-print
12 x 18"
<strong>LUTZ</strong>, Susan
United States
Gift of Laurence A. Rickels
1997
2011.004.046
<strong>MACDONALD</strong>, Euan
<em>Untitled (Palm with Man)</em>
Ink on paper
14 x 19 1/2"
<strong>MACDONALD</strong>, Euan
United States, b. Scotland, 1965
Gift of Laurence A. Rickels
2000
2011.004.047
<strong>MARLOS</strong>, Daniel
<em>Spatial Relationship #49, 3 January- 4 January 1998</em>
Gelatin silver print
14 1/4 x 8"
Daniel Marlos’ work is based on traditional film editing theories by, among others, Lev Kuleshov, an influential Russian filmmaker and theorist. Spatial Relationship #49 is part of a series in which each work is comprised of two images. The top image is the home of the photographer while the second is the home of the photographer’s model. However, only one person is ever depicted leaving the viewer uncertain as to the identity of either the model or the photographer.
<strong>MARLOS</strong>, Daniel
United States
Gift of Laurence A. Rickels
1998
2011.004.048
<strong>MARLOS</strong>, Daniel
<em>Spatial Relationship #56, 30 January, 1998</em>
Gelatin silver print
14 1/4 x 8"
<strong>MARLOS</strong>, Daniel
United States
Gift of Laurence A. Rickels
1998
2011.004.049
<strong>MASON</strong>, T. Kelly
<em>First Local Lexicon: Y</em>
graphite and ink transfer on paper
9 3/4 x 10"
<strong>MASON</strong>, T. Kelly
United States, b. 1964
Gift of Laurence A. Rickels
1996
2011.004.050
<strong>MEADOWS</strong>, Jason
<em>Untitled (Martin Kippenberger)</em>
2004
Monoprint
30 x 22"
<strong>MEADOWS</strong>, Jason
Gift of Laurence A. Rickels
2004
2012.005.019
<strong>MONROW</strong>, Maynard
<em>Untitled</em>
2001
Stretchers, white patent leather, galvanized clamps and inspection device with mirror
30 x 22"
<strong>MONROW</strong>, Maynard
Gift of Laurence A. Rickels
2001
2012.005.020
<strong>MUNROE</strong>, Nicoletta
<em>Cherry Blossom I (Stage Left)</em>
cibachrome
32 x 48"
<strong>MUNROE</strong>, Nicoletta
Gift of Laurence A. Rickels
2000
2011.004.051
<strong>PALLY</strong>, Marc
<em>Il Specchio</em>
Mixed media on Plexiglas mirror
18" in diameter
<strong>PALLY</strong>, Marc
United States, b. 1946
Gift of Laurence A. Rickels
1995
2011.004.052
<strong>PATTON</strong>, David
<em>Are You the Most Brillant</em>
1998
Oil, acrylic, and mylar on birch plywood
11 x 7 1/2"
<strong>PATTON</strong>, David
Gift of Laurence A. Rickels
1998
2012.005.024
<strong>PEERS</strong>, M.A.
<em>French Bulldog</em>
graphite on found sofa upholstery fabric (vinyl and leather
35 1/2 x 44"
Peers grew up working in kennels and drew dog portraits, a secret pleasure, throughout her life. During Peers’ graduate studies, she was told to paint “the most embarrassing thing you can think of,” which led to her series of dog portraits inspired by the purebreds featured on dog food labels. They are executed on old covers from sofas and chairs Peers found on the streets of Los Angeles.
<strong>PEERS</strong>, M.A.
Gift of Laurence A. Rickels
1995
2011.004.070
<strong>PERLMAN</strong>, Hirsch
<em>Day 23.5</em>
black and white fiber print, vinyl, tape and push pins, 2/5
24 x 30"
Day 23.5 is part of a series consisting of photographs taken in a spare bedroom in Perlman’s house. As in most of the pictures part of the series, this one shows the room filled with cardboard boxes, papers, packaging materials and other detritus, all of which have been formed into life-size figures Perlman posed in various ways. In different images they appear almost human as a result of their suggestive stances, while in others they look mechanical and menacing. With its resemblance to a dissembled machine, Day 23.5 demonstrates both the pure joy of creation, in working with whatever is at hand, and the artists’ skillful ability to suggest mood, character and even, possibly, narrative through his evocative works. The titles are sequential indicating that this photograph was made on the 23rd day of the project, and was the fifth photo of the day.
<strong>PERLMAN</strong>, Hirsch
United States, b. 1960
Gift of Laurence A. Rickels
1999-2001
2011.004.053
<strong>PILARSKI</strong>, Jason
<em>Lt. Grey-B: Aspects layed out entering or instead of the interior here or there</em>
ABS, Polaine, FDM-generated nylon, mise
39 x 88 1/2 x 3"
The uncanny is defined by the experience of something familiar and at the same time unfamiliar which instills a sense of unease and fear. These ideas find resonance with Jason Pilarski who, in the 1990’s, took inspiration from everyday objects such as office dividers, the sides of vans and plastic covers. While viewers may recognize their stylistic language as having been drawn from industrial design, their new context and reconfiguration give them an oddly confounding appearance which does not allow for easy identification or categorization.
<strong>PILARSKI</strong>, Jason
Gift of Laurence A. Rickels
1998
2011.004.054
<strong>Poyourow</strong>, Jill
<em>The Drinkers</em>
1999
Watercolor on paper
38 1/2 x 26"
<strong>Poyourow</strong>, Jill
United States
Gift of Laurence A. Rickels
1999
2012.005.025
<strong>REISS</strong>, Rebecca
<em>She Fly Away</em>
Paint on paper
12 x 19"
<strong>REISS,</strong> Rebecca
United States, b. 1966
Gift of Laurence A. Rickels
ca. 2001
2012.005.008
<strong>RIESS</strong>, Rebecca
<em>Rain Catcher</em>
2000
Mixed media on paper
15 x 20"
<strong>RIESS</strong>, Rebecca
United States, b. 1966
Gift of Laurence A. Rickels
2000
2012.005.026
<strong>ROEDER</strong>, Mark
<em>Blondie on Green and White</em>
C-Print, ed. 3
20 x 24"
<strong>ROEDER</strong>, Mark
United States, b. 1974
Gift of Laurence A. Rickels
2000
2011.004.055
<strong>ROEDER</strong>, Mark
<em>Enantiomorphosis (Corner-Blue, Red, Cream, Black)</em>
C-Print, 2/3
20 x 24"
<strong>ROEDER</strong>, Mark
United States, b. 1974
Gift of Laurence A. Rickels
2001
2011.004.056
<strong>ROEDER</strong>, Mark
<em>Enantiomorphosis (Semi-Transparent and Reflective - Green, Blues, Grey)</em>
C-Print, 1/3
11 x 14"
<strong>ROEDER</strong>, Mark
United States, b. 1974
Gift of Laurence A. Rickels
2001
2011.004.057
<strong>SANCHEZ</strong>, Pauline Stella
<em>…the annunciation that place on the other side of the room where there was the</em>
ed of 6
<strong>SANCHEZ</strong>, Pauline Stella
Gift of Laurence A. Rickels
2002
2011.004.058
<strong>SANTARROMANA</strong>, Joseph
<em>M.W. Joseph S. (Marnie Weber)</em>
1994
Iris print
30 x 30" framed
<strong>SANTARROMANA</strong>, Joseph
Gift of Laurence A. Rickels
1994
2012.005.027
<strong>SANTARROMANA</strong>, Joseph
<em>B.R. & Joseph S. (Bill Roper)</em>
1994
Iris print
30 x 30" framed
<strong>SANTARROMANA</strong>, Joseph
Gift of Laurence A. Rickels
1994
2012.005.028
<strong>SARKISIAN</strong>, Amy
<em>Wall Zombie</em>
Faux pearls, beads, sequins, pins, foam
Amy Sarkisian has always been fascinated by Halloween and the sight of children trick-or-treating. At one point in her career it inspired her to use the images of skulls and zombies. By placing these figures, normally seen in B-movies and Halloween decorations, within an art context, Sarkisian alludes to the difference between high and low culture. Moreover, she emphasizes the dialectic between the seductive and the repulsive by making these foul creatures and macabre objects out of faux pearls and sparkling beads.
<strong>SARKISIAN</strong>, Amy
Gift of Laurence A. Rickels
2002
2011.004.059
<strong>SCHAFER</strong>, David
<em>Cluster (random with text)</em>
ink and ink jet collage
13 3/4 x 11"
<strong>SCHAFER</strong>, David
Gift of Laurence A. Rickels
1999
2011.004.060
<strong>SCHIMERT</strong>, Katy
<em>Skirts</em>
<strong>SCHIMERT</strong>, Katy
United States, b. 1963
Gift of Laurence A. Rickels
1993
2011.004.061
<strong>SEGADE</strong>, Alexandro
<em>Yes, We Are Satanists (666 Video Stills)</em>
2001
digital color prints
10 x 8" ea.
Image is comprised of 6 digital stills (a) candle with 666; (b) image with totem head; © female in white; (d) screaming woman; (e) Male head.
<strong>SEGADE</strong>, Alexandro
Gift of Laurence A. Rickels
2001
2012.005.029a-f
<strong>SHAPERO</strong>, Mindy
<em>Eating the feathers and then pretending not to be hungry</em>
2003
Gouache and ink on paper
39 1/2 x 27 3/4"
<strong>SHAPERO</strong>, Mindy
Gift of Laurence A. Rickels
2003
2012.005.030
<strong>SPENCE</strong>, Brad
<em>The Philosophy of Hegel</em>
Acrylic on paper
60 x 36"
<strong>SPENCE</strong>, Brad
United States
Gift of Laurence A. Rickels
1998
2011.004.062
<strong>TAYLOR</strong>, Stephanie
<em>Stay Funny Sailor</em>
two-sided circular print on poster, supplement to performance
19 1/8" dia.
<strong>TAYLOR</strong>, Stephanie
United States, b. 1970
Gift of Laurence A. Rickels
2000
2011.004.063
<strong>TEPLIN</strong>, Alexis
<em>Gustave's Emilie</em>
colored marker on paper
24 x 9"
<strong>TEPLIN</strong>, Alexis
Gift of Laurence A. Rickels
1999
2011.004.064
<strong>VALLANCE</strong>, Jeffrey
<em>ARTLUST: Pierced heart</em>
2005
Giclee
17 x 14 1/2"
<strong>VALLANCE</strong>, Jeffrey
United States, b. 1955
Gift of Laurence A. Rickels
2005
2012.005.033
<strong>WALSH</strong>, Anne
<em>Untitled (As tender as I want him to be)</em>
C-print
32 1/2 x 19"
<strong>WALSH</strong>, Anne
United States, b. 1962
Gift of Laurence A. Rickels
1996
2011.004.066
<strong>YOUNG</strong>, LIZ
<em>Norma</em>
Mixed media on paper
5 x 7"
<strong>YOUNG</strong>, LIZ
Gift of Laurence A. Rickels
1997
2011.004.067
<strong>YOUNG,</strong> LIZ
<em>Deer</em>
Felt and concrete
18 x 7 x 13"
Liz Young is interested in the body, the human condition and our relationship to nature. Young uses materials, often recycled, that evoke history, memory and nostalgia. In the two works Eagle and Deer, Young has covered figures of animals in nude colored fabric that simulates our own skin. By creating an extra skin for these animals Young refers to the human desire to modify, often drastically, our bodies and attempt to avoid aging.
<strong>YOUNG</strong>, LIZ
Gift of Laurence A. Rickels
1998
2011.004.068