Untitled, 1962 Collage
Collage of cream colored coated paper and swirls of black indian ink and pencil. Paper is torn and rearranged creating a silhouetted black and white image.
Gift of Regina Cherry, Estate of Herman Cherry
Collage of cream colored coated paper and swirls of black indian ink and pencil. Paper is torn and rearranged creating a silhouetted image of four vertical hill-shapes to the right, with more sporadic shapes reflected on the left.
Wonder Bread, (Blue Dots), 1993 Mixed media
In 1980, Michael Gonzalez enrolled in the California Institute for the Arts (CalArts) at the age of 26, when his artistic references stemmed from comic books and custom cars. Influenced by visual culture, his works critique the glossy aesthetics of optical art, minimalism, and geometric abstraction through everyday materials, in turn raising timely questions about consumption and discarded material culture. This 1990s series exemplifies that approach: Gonzalez manually deconstructs the Wonder brand’s brightly colored bread packaging and presses it in plexiglass to create provocative compositions. Throughout the Wonder series, the ubiquitous logo is rendered as a pattern. The depth, created not only by layers of plexiglass but also by Gonzalez's hypnotic play with dimension, appears to extend toward infinity. In one work, the Wonder logo plunges toward the bottom of the transparent canvas into a seemingly haphazard mess of colored circles, typography, and white rectangles, with the gallery wall occupying the negative space. In another, Wonder’s branding is reduced to a geometric abstraction, as Gonzalez takes advantage of the blue circles' ready-made transparency.
Gift from Thomas Solomon and Kimberly Mascola
Wonder Bread, 1996 Mixed media
Untitled (Ten people Ten Books), 1994 Cloth bound accordion fold out in velum
Yellow-green cloth bound accordion fold out in velum; vibrant pages within displaying geometric shapes.
Mixed media collage on paper with two brown forms and cut paper tufts of hair extending from a green ground. On reverse: RUDY BUST, 10-30-99
There is Nothing I Can Do, 1999
Mixed media collage with a bright green strip situated horizontally with three wooden sticks extending vertically. Brownish organic textured shape near upper portion of composition. THERE IS NOTHING I CAN written above green strip; On reverse: Rudy Bust, 10-30-99
Mixed media collage on paper with a textured dark brown figurative animal with hair positioned vertically with a small, plastic bag of silver glitter. OK I LOVE YOU written in gold pen; on reverse: Rudy Bust, 10-30-99
String and paint on board detailing an off-white background with knotted fragments. Knots spaced apart situated in various directions. On reverse: WHITE KNOT PAINTING ROBERT LEVINE 90.
Wall hanging of acrylic on cut mixed fabric panels in brown, beige and greyish blue with diamnond shaped cuts outlined in blue paint. Kim Macconnel written on reverse.
On the Ground Material Drawings 7 (with the Lavendar Mist/Pollock Film), 2011
Spraypaint, nail polish, jimson weed seeds on paper
Mixed media collage on paper with geyscale printing that displays film rolls laid diagonally across the surface. Tiny splatters of yellow, pink, white, and blue paint throughout. Address label on reverse.
Transcending Grid with Opening (white) #1, 2016
Encaustic paint and linen yarn on walnut panel
Encaustic paint and linen yarn on walnut panel with centralized hollowed square. Various sized strings of yarn extend from panel.
No It Can Assess An Action, 1992
works on paper, abstract, letters, green, words
This work includes green plastic stencils and a pencil inscribed with FEHLAU NORTON HOLIDAY PROJECT @ 1992 as well as an instruction sheet for stenciling NO IT CAN ASSESS AN ACTION creating a palindrome on opposite walls; (a) instruction sheet; (b) pencil; (c) stencil for N; (d) stencil for o; (e) stencil for i; (f) stencil for T; (g) stencil for C; (h) stencil for S; (i) stencil for A; (j) stencil for E. The artist's work often shifts the viewer's point of reference through the doubling of images and text. Beginning in 1988, the Norton Family sent a limited edition Christmas gift to a wide list of friends in the art community including art institutions.
Donald P. Walton Jr. and Frances Jean Colpitt Estate
The work of Christopher Suarez explores the relationship between communities and their built environment through the three-dimensional medium of clay. His ceramic sculptures recreate the neighborhood buildings, laundromats, convenience stores, and mercados that define his experience growing up in Long Beach, CA. Suarez relies on personal memory to rebuild seemingly unremarkable places and spaces that are, in fact, important cultural and personal sites within his community. Anaheim Center explores the strip mall, a quintessentially Southern Californian architectural form, as the epicenter for the cultivation of community and culture. These commercial centers are not only an integral part of the SoCal landscape, but more importantly for the artist, an extension of home. According to Suarez, “Our homes, the buildings that we go into, the businesses we shop at, these structures carry the spirit of our relationships.”
OFILI, Chris, b. Great Britain, 1968
silkscreen on blackboard, 24 x 35" each of 3
A triptych of green blackboards; Halston screened in white letters on panel 1; Gucci screened in white letters on panel 2; Fiorucci screened in white letters on panel 3 Nayland Blake's Halston, Gucci, Fiorucci plays with ideas of identity and narrative, by infusing objects with greater meaning through their arrangement and grouping. This work comes from a series by the artist in which emblematic words are silkscreened on chalkboards. Blake describes the text in this series as objects that are “treated as link(s) in the chain of association.” For Blake, those associations surround notions of homosexuality and gay culture. Halston, Gucci, Fiorucci, ostensibly takes its title from a line in the 1978 disco hit, “He’s the Greatest Dancer” by Sister Sledge. The song describes a sexy, fashionable, man about town who entrances everyone with his good looks and dance moves. Today, the lyrics can be read as a series of clichés about gay men obsessed with appearance and fashion.
Blake, Nayland, b. United States, 1960
This porcelain sculpture carries two protruding additions on the surface, on the left side a half-cylinder shape is connected by a vertical slab. On the lower right side of the sculpture are two porcelain pieces placed in a "L" shape; the horizontal piece contains the number "4,221" upside down. In addition, the upper-right corner of this sculpture contains a projection of porcelain that displays the letters duavin.
Wool, polyamide, viscose, polyethylene, terephthalate, hand-spun California Variegated Mutant (Nashua), Redwood
Many of Hansen's works include vibrant abstract forms such as the AD&A Museum's Spooky Action which details a prominent lemon shaded sphere along the top. This mixed media hanging reflects the labour intensive process of hand knitted, wahsed and dyed wool which the artist spins himself eventually mounting onto a wooden stretcher. And although the construction of his work is often seen as improvised, its appearance is predetermined by computer algorithms potentially generating an infinite number of color combinations resulting in the artist being unaware of how the finished work will look until it is complete.
Gift of Marc Selwyn Fine Art, Los Angeles
Ropes, Days, Nights, Handles, Netting and Poem Variation, 2016
Painted braided rope,with glazed and bronzed ceramics
Hanging mixed media sculpture with painted braided rope; glazed and bronzed ceramic forms knotted throughout the work with saw like handles descending from the lower rung of knots.
Henry Hudson Robert Fulton Medal
The Pennsylvania Society-founded MDCCIXC picture of Wm. Penn
George R. White Medal of Honor duplicate of 69/149
The Century Association 1847-1947
The Pennsylvania Society-founded MSCCIXC picture of Wm. Penn
Andrew Carnegie MCMX for distinguished achievement
G.R. White Medal of Honor (Reverse-E.H. Wilson)
Internat'l Business Machines Corp. Honorary Award for a notable
"Souvenir de la grande guerre-dedie aux veterans francais en
For distinguised achievement-Andrew Carnegie
"They set great store by their gardens"
Aedes Sacrae Grolierensi (man sitting in library)
Cigar box housing 19 cabinet cards (a-s); each card includes a portrait whose facial features have been altered by the artist enclosed within a housing structure; most are signed on the reverse.
Gift of John Gothold and the Kohler Foundation, Inc.
Lowry paints over a calling card from an earlier era by including a red carnival mask on the protrait's face with a very long nose. Over her torso is the cut out of a corset for a child (so designated in Italian). The title comes from the photographic firm printed at the bottom of the image: Chesley, of Pipestone, Minn. Signed and dated on the lower right and on the back of frame.
Lowry paints over a calling card from an earlier era by adorning the female figure with black rhinestone glasses. A party hat is on her head. Her torso is painted over with a fly sporting human legs. Signed and dated at lower right and on the reverse.
Lowry paints over a calling card from an earlier era by adorning the female figure now adorned with a partial face mask and a crown.A rowboat is drawn at the bottom of the card. Signed and dated on the bottom right and on the reverse.
Constellation Series: "December"
Lowry collaged onto a blue constellation chart for the month of December the Roman Colosseum, and the print of a 18th century woman holding a red wheel in her hand. Signed and dated at lower right.
Constellation Series: Pisa with wings
On a blue constellation map for the month of June, Lowry collages the face and torso of a young girl in a foral bonnet from the late 19th Century, as well as a winged leaning tower of Pisa. There are two family banners on the left followed by a series of animals with their names in Italian.Signed and dated on the bottom right.
Constellation Series: "Southern Constellation"
A collage of a woman from a 1950's fashion magazine cut from a nautical map which is superimposed over a cart of the southern constellations. Her shape takes up the entire diameter of the area of focus. Behind her is a cutout of a woman of antiquity, and a free-floating oven gate. Along the bottom edge are a series of banners from royal Italian families. Signed and dated on the bottom right.
Flora and Fauna Illustration Series: Red Shapes
A hand drawn and partially collaged figure of a man with his torso seen as an ex-ray, and bones visible in his arms and legs, superimposed over a paper print of beetles and long-bodied insect illustrations. In and around the page are collaged objects including an old-fashioned camera, a single hand, and red shapes. Signed and dated at the lower right.
Flora and Fauna Illustration Series: Grasshoppers and Beetles
A hand drawn and partially collaged figure of a man in a small black square, empty frames around his head and torso, positioned over grasshopper and beetle illustrations. A strip with elaborate but obscured penmanship throughout the lower half including the bust of a woman in 19th Century dress. Signed and dated on the bottom right.
Flora and Fauna Illustration Series: Shells
A hand drawn and partially collaged figure of a woman, halo above her head, standing in a small square over a print of shell illustrations. A transparent page with a leaf study is added to the bottom left corner of the collage. Signed and dated on the lower right.
Flora and Fauna Illustration Series: Winged Insects
Collage of partially drawn figure of a man in a small black square, is collaged over a paper print of insect illustrations. A strip with elaborate penmanship at the bottom of the page reads, "yellow yellow yellow pest pest pest," referring to the illustrated insects. Signed and dated on the lower right.
Russian Renaissance Series; miscellaneous with trumpet
Image includes a collage of a trumpet, a tomato, flowers, bursting seeded fruit, a man's eye, a stock of corn and a small child. Signed and dated on the lower right.
Russian Renaissance Series: open building
A collage of the statue of a woman playing a lyre over an open building construction. Various unrelated objects float across the paper, including a foot, a key, a wheel, and a small doll. Signed and dated at the lower right.
Russian Renaissance Series; regal woman
A newspaper quality print of a regal woman from the Renaissance has a red hand collaged near her eye, and also the cutout of an observer, a well-dressed 19th Century woman, quite small in her scale, regarding her. Signed and dated on the lower right.
The assemblage is constructed inside of a four-legged box that has been turned upside down. The interior is lined with collaged maps. A small globe on a stick holds a playing card, and the black head of a small creature, undefinable, gazing in an opposite directions. A cutout of a fish on a small stand is at the bottom of the box. Signd and dated on the bottom.
The assemblage is constructed out of a box with a hinged cover. The edges of the exterior cover are covered in thorn. The interior cover is gray, and in the center is a circular transparent orb, the inside of which holds a small figure seemingly suspended in its interior. The interior of the box is rimmed with the same thorny edges. A decorated tin of Prince Albert tobacco is positioned off-center to the left. Below the tobacco tin is a small vignette of a girl in overalls holding a pail approaching the cage of an overized bird. Cacti cutouts are along the edges of the interior. Signed and dated on the backside.
Lowry utilizes doll parts mixed withe machine parts in this assemblage. The composite figure approaches a viewing station against a deep blue background the color of a night sky. The disk on the back wall is partially covered in a constellation chart. The assemblage is particularly effective because of Lowry's use of bold colors; in this case, red, yellow, and blue. Signed and dated on the backside.
The interior of this elaborately constructed and painted assemblage is dense. An arm constructed of wood and fabric hangs attached to a wire; the hand clutches a small bag with the image of a monkey on the side. The creature regards another small, sculpted monkey that is placed on the bottom edge of the box. A small doll with a white face is suspended in the interior, hands clutching the same wire as that supporting the arm. A silhouetted cutout of a woman is in the top left section of the box. Signed and dated on the reverse.
This mixed media work is from a series completed by the artist about a violent neighborhood tragedy. The panels are gilded, and the decorative elements are festive, but the message suggests otherwise. Next to the face of a young person are the words: "Ambush 5 shot." In and among the decorative elements is more text, that read: "THINGS JUST DON'T HAPPEN IN A PLACE LIKE THIS." Unsigned.
Journal #93 (Living A New Normal)
This journal page was completed one month after the attacks of 9/11. In it, Lowry uses 1950's advertising images of children in contrast to the horrors of that current moment. A boy and a girl reading is contrasted with four figures in hazmat suits on the left, and on the right a child's "toy" called a potato gun that shoots harmless potato pellets, collaged with renderings of explosions, and a clipped headline that reads "How Scared Should You Be?" Signed and dated below collage on mat.
This is Lowry's journal entry on 9/11, the day the United States was attacked by Middle Eastern Terrorists. It includes her own writing on the day, concentrating on her observation of the dust-covered, sepia toned woman in the photograph on the right side. Signed and dated below the collage on mat.
The background of the collage is a building under construction upon which is an image of the Virgin Mary steadying a young Jesus as he learns to walk. His steps take him up the side of the building. Signed and dated on reversed with a note that is was finished in 2008.
A print of "Grande Odalisque" by Jean Auguste Ingres is collaged over a series of famous columns, statues, buildings, churches and spires suggesting a new meaning provided by the nude's glaze. Signed and dated at the lower right.
Lowry uses the cover of a Life Magazine as the backdrop for the collage superimposing a sea map, and a large black crow over the body of Christ after he has been removed from his crucifixion. The wounds are visibile on his body but his face is obscured by the crow. Signed and dated on the lower right.
The collaged elements of this artwork include a woman in a red and black cowboy shirt and hat. She is superimposed on a patterned portion of a Saltillo blanket gesturing to a suburban home over her shoulder, with a white and yellow picket fence. The girl in the photo is the artist, who grew up in the Southwest. Signed and dated at lower right.
Lowry combines three black and white images; the dimly visible side of a cathedral and a massive well-lit skyscraper. The two images are intersected by an orb. Signed and dated on reverse.
Lowry juxtaposes two children's reading books in this collage with detailing the alphabet, introducing the letter A to Adam, whose fall from grace and inherent sin Christians believe we all share. Harsh words for the letter A! Next to it is the alphabet in upper and lower case inscribed on a paddle. Beneath it is a child's beginning reader with young Robert as the subject. The text is partially obscured by a disk. Both texts are joined vertically by the anatomical muscular schema of a man, whose lower half ends in some form of cephalopod. Signed and dated on the bottom right.
This untitled collage represents a 1950's sensibility, the time when the artist was a young girl, Lowry collages different elements: blue and white floral wallpaper, a wallpaper catalog ad and a woman modeling 1950s lingerie. Signed and dated at lower right.
Lowry uses cut-out and recombined images of antiquated machinery to form an ineffectual looking robot. The humor is in the title; in this case the assembled robot defies basic science. Signed and dated at lower right right.
Untitled (miniature pop-up book)
Janice Lowry had an appreciation for Surrealism which developed in Europe after World War I and is credited as part of Lowry's artmaking, updated and seen through the lens of a woman. The miniature mixed media book is complete with prints of altered body parts, insects and animals. The text is applied appearing backwards, not meant to be read. Unsigned.
This mixed media work joins others by the artist detailing a violent neighborhood tragedy; although the work(s) include gilded panels with decorative elements text is juxtaposed suggesting less than optimal circumstances. This includes the words "USUALLY," a "SHOT," while across the lower half the text reads "NEIGHBORHOOD" and in In the lower left corner is the drawn figure of a man pointing to the newspaper text, cut out in strips, applied to the surface and partially obscured by paint saying, in part: "...parking lot next to pier. It's usually a safe neighborhood...Newport Beach..." Unsigned.
This mixed media work, along with KFI #'s 146 and 326, is from a series done by the artist about a violent neighborhood tragedy. The panels are similar in that they are gilded, and the decorative elements are festive, but the message is grim. The top portion of this assemblage shows three repeated hands, each reaching forward. The newspaper text cut out in strips, applied to the surface and partially obscured by paint say, in part: "I never thought something like this would happen in Virginia...shocked...it happened other places but..." Unsigned.
Lowry uses a print of traditional Japanese dress from the Edo period on which to collage a teacup, the crossed legs of a woman, a red heart, and the face of a woman in sepia tones, her lips and eyes enhanced with color. A semi-circle near the crossed legs cut from an advertisement reads: "NOW ONLY." Unsigned.
Lowry collages an altered portrait from an earlier era by morphing the subject's face into unique shapes with only the eyes in original form; the mose and mouth come from other images; The remainder of the face and the center of the torso are obscured by early 20th Century machine parts. Signed and dated on the lower right.
Lowry collages an altered portrait from an earlier era by morphing the subject's face into unique shapes with only the eyes and nose remaining in original form; a cutout of a bird is on his shoulder.The subject sits in a chair with a book in his lap. A circular cutout of a bird rests on one arm; a strip of elaborate penmanship is at the bottom of the page and reads: "Beauty Beauty Beauty." Signed and dated at the lower right.
Lowry collages an altered portrait from an earlier era by morphing the subject's face into unique shapes with only the eyes and nose remaining in original form; a cutout of a bird is on his shoulder. Signed and dated at the lower right.
Thru collaging old factory machines to form the head and body, Lowry is able to form a robot, albeit an inefficient one which is superimposed over green and yellow patterned wallpaper. Signed and dated below the lower right, on mat.
Thru her work, Montilla explores three fundamental parts of who she is: her experience of being a woman and her feminist values; her feelings of acculturation from living in the US while maintaining her Spanish identity; and her opposition to consumerism and commitment to environmental sustainability. Montilla's practice uses installations, wood sculptures, and reclaimed and overlooked textiles, addressing themes of memory, transformation, adaptation, and identity through materials that have been discarded, deconstructed, and reconstructed. Acculturation relates to Montilla's series "Objectifying" which explores "the body in a sensual way through non-binary anthropomorphic forms made out of wood and second-hand garments. The series seeks to question tranditional gender divisions, as well as ways we are taught to view bodies, in order to create forms that reject convention and offer more releastic possibilities."
porcelain toilet, metal framework, chains, tubing, levers
A stylized sculpture composed of a porcelain toilet surrounded by an elaborate mechanical system including metal framework, chains, tubing and levers, and a lit sign which reads "Loyalty Oath".
Throughout her artistic career, Judith Rothschild was deeply influenced by European modernism exemplified in the work of Henri Matisse, Pablo Picasso and Joan Miró. From these artists, Rothschild learned to explore the power of form and its ability to evoke emotion or ideas. Wheel of Fortune represents a bridge between her earlier, more formally rigid works, and the relief paintings she started doing in the early 1970s. These later works were characterized by a freer line, starker composition, and collaged foam board and aluminum. Here, Rothschilds renewed interest in collage is evident in the letter tiles and spinning arrow she affixed to the support. Rothschild also painted overlapping shapes which mimic the appearance of cut pieces of paper. The circular shapes throughout reference the title, a symbol in existence since antiquity that represented fates fickle nature which could bring one great joy or sadness just by the turn of her wheel.
Gift of Mrs. Kay Hillman through UCSB Art Affiliates
medal: 1 5/8" diameter; lucite: 3 5/8" x 3" x 1/4"
rectangular silver ingot. Profile on front, bio. on back.
Stofnum Lydveldis a Islandi, 1944
Porcelain scultpure in the form of a flower.
Polaroid SX-70 photographs/steel tape adhered with methyl cellulose onto plywood
Living in New York City in the late 1970s and early 1980s, I was working with an SX70 Polaroid camera and shooting photographs as well as making drawings, sculptures, and installations. Urban is a synthesis of sculpture and photography and was part of the installation, Rattle in the Hot Shop, featured in Andy Warhols Interview magazine. I chose a universal image, a chair, and reduced it to its most basic form, and covered it with black Polaroids that show no image. In this way the Polaroids are not so much photographs as objects, and in this instance are used as tiles. The repetitive patterning of black Polaroid photographs makes them appear window-like, giving the chair an appearance similar to a skyscraper, like the Seagram building in New York City. In working this way, I negated the primary concept of photography to serve as documentation of the world around us.
Colorful mixed media sculpture completed in wood and acrylic paint; centralized blue square enclosed by brownish petals with a third set of white petal-like forms encasing the entire work. Signed, dated with title on reverse.
Gift of Marc Selwyn Fine Art, Beverly Hills
Greyish washcloth folded along top covering 1/2 of an orange spherical.
Untitled (paint Can Led Mickey)
Clay formed in the shape of Mickey Mouse and a paint can lid; ears formed by painted bottle caps.
Aluminum, Plexiglas, mirror, stretch wrap and enamel
Multi-media work of black plastic wrapped around a mirror fronted by Plexi holding a wooden dowel; the work illustrated here is similar to the one owned by the museum.
A globular cluster of oblong shapes with a dark and light blue glaze.
Silkscreen ink and enamel on canvas with wooden stretcher
Large silkscreen and ink mixed media work on canvas; white ground with blue circular form at top flanked by pink singular stripes at sides.
Sculpture in the form of a green cube inscribed with bar-codes and traditional Mapuche iconography. Artist signature and date of creation are engraved on the underside base of the work.
Sculpture created using tin-plated copper ground braids, woven together, to form a triangular-like shape.
GONZALEZ, Michael b. United States, 1953
Estate of Frances Garvin and Keith Julius Puccinelli
Metal, shark jaws, wax, nylon stockings, Plexi and wood boxes
Green and purple and red and yellow sculptures of flower petals resembling a vagina. Inside the petals are teeth. Underneath plate, is a description.
Painted ceramic tripod pitcher painted blue with painted pink flowers and other decorations. Signed and numbered by the artist on the bottom.
A tall thin vase made of porcelain with a pattern apprearing at the top and bottom of the vase: a cluster of red dots inside an olive green circle. This pattern is repeated on the interior; signed by the artist on the bottom.
Pink camel shaped sculpture with small multi colored dots.
Ceramic shard and napkin signed by Yoko Ono
Items include a ceramic shard painted with abstract blue lines (a); in ink are the words "To Fran, From Yoko, '94". Accompanying the shard is a black paper napkin with the words "To Keith, From Yoko, '94".
Unknown Title (altered pitchfork)
Altered pitchfork, springs, and hardware
A pitchfork whose handle has been cut every two inches and elongated with segments of metal spring.
Bullet casings sacttered and glued onto a small metal meal tray divided into three parts. The parts of the casings not covered in glue appear brown and rusty while the casings coverd in glue appear shiny with a bronze coloring.
Wooden patterned sculpture with colorful flowers, birds, and stars.
Sun Moon Stars (Woman Beats Hell Out of Devil)
Painted wood panel of a woman beating a devil. Title is in wood cut letters along top.
Image of a naked man standing inside a barrel. Signed and dated by artist at lower right corner.
A carved soap bar in the shape of a tent housed in a glass box. Signed and dated by the artist on the bottom of soap bar.
Phallic object crafted from white felt suspended in a shadow box. On reverse, signed.
A felt ball with five round protrusions at the top. Housed in a shadow box.
Rotary dial hotel telephone; painted overall in bright colors with black hieroglyph-like marks. Text on top of receiver -- MAKE THINGS RIGHT WITH GOD. Signed on underside with additional text in black.