Large metal sculpture depicting a Surreal composition with a crescent moon in white on the right and a band of perforated, rusty metal on the left. Other areas have been cut into the metal leaving designs resembling hieroglyphics.
Metal bas relief of semiabstract female torso. Nails, drilled into the metal base and placed very close together, convey the shape of pubic hair; an umbilicus, in the center of the artwork, represents an eye. MAV inscribed on the work.
Metal bas relief of a semiabstract male torso. Nails driven into the metal surface make the shape of a bow tie and pubic hair. An umbilicus, in the center of the artwork, repesents a centralized eye. Inscribed on the work MAV.
Metal, copper, glass with electified light
Large metal bas relief that has been cut open to expose other interior parts; small glass orbs float within the sculpture, held closely by wires. The patina of the metal base changes throughout from gold to blue.
Carved granite stone; centralized image of a horizontal letter "T" measuring 6 1/2 x 9 x 3" allowing the viewer to experience the darker interior of the stone.
Mobile is comprised of four red paddles balanced vertically. A large disk on the left, hung horizontally, counterbalances the paddles on the right. The top and bottom paddles contain holes.
Mobile is comprised of four brown paddles balanced horizontally; a larger disk, hung vertically, counterbalances the smaller paddles. The large paddle contains six small holes and a larger square cut-out with a small grey orb.
Double seated bench set comprised of two metal tractor seats fastened to a metal plate. The tractor seats are painted black separated by a metal "T" painted red. Inscription on the plate with the monogram and date, '93.
Mixed media sculpture in three parts; glass tube with rubber glove suspended from a disc-like lid with crystal beads. Sculpture sits atop a black base with manufacturing information including the name of the equipment THREE PHASE TRANSFORMER.
Circular white earthenware clay dish depicting a tauromachy (bull-fight) scene surrounded by decorative elements; deep red with white streaks represent the bull-fighting ring. On the underside, the plate is numbered 65/100 with Madoura and Picasso stamps.
White earthenware clay turned vase with centralized redbrown design of a wood-owl. On the reverse, is a protruding bowl-like feature forming the tail of the wood-owl; interior of the base is numbered 143/200 with Madoura and Edition Picasso stamps.
Convex white earthenware clay wall plaque with four figures created from raised white forms on black ground.
White earthenware clay with matte finish, ed. 50
White earthenware clay pitcher with matte finish. Frontside includes shapes and other abstracted forms indicating the eyes, nose, and mouth. Depth and dimension are created with the layering of black, blue, green, and white. On the reverse are non-figural, abstracted forms mixed in with black streaks of hair from the face and extend to the handle of the pitcher.
White earthenware clay turned pitcher with matte finish decorated with black, blue and white natural and animal-like abstracted forms. On the underside, the pitcher is numbered 64/200 along with Madoura and Edition Picasso stamps.
White earthenware clay vase with incised depictions in brown of goats and natural elements; situated between the goats is a light relief reading 6.6.52, possibly in reference to the date that the work was created. On the underside, is an Edition Picasso stamp with text, EDITION PICASSO.
White earthenware clay ceramic dish with profile of a goat's head; outer edges are blue-green with brown and yellow abstract forms surrounding head. Some elements including the eye, brow and snout are raised revealing the underlying bone structure.
VASA (MIHICH, Vasa Velizar)
Cast laminated acrylic sculpture with an interior composed of thin colorful planes arranged in patterns. The work is signed and dated by the artist with the number and title of the piece, #466.
Porcelain, steel wire with concrete base, 11/12
Los Angeles-based artist Ruben Ochoa draws from ​​the realm of construction and infrastructure, sourcing mass-produced products from home improvement stores or salvaging them from urban spaces. His sculptures, assembled from rebar, metal plates, wooden pallets, concrete blocks, road barriers, dirt, and other utilitarian components, range from room-filling structures to two-dimensional works, while others rest airily upon their pedestals. In Steel Life Porcelana, a bundle of white rebar, bound together by thin wire, rests diagonally across a cement block. Their color is peculiar: a stark, matte white. In every other respect, they seem ordinary. Such materials could be found on a construction site, or amid the debris of a home renovation. Surprisingly, however, the rebar’s pristine white is not painted on but inherent to the material itself. Its texture and form are replicated with uncanny accuracy in porcelain—a far more fragile and fine substrate. Here, the hard and unyielding meets the brittle and light, as Ochoa prompts us to reflect on the constituent materials of our built environment and the ways they are employed to shape society.
The artist is known for her precisely drawn black silhouettes caricaturing the lives of slaves and masters in the Antebellum American south. Using this same caricature format, Freedom, A Fable addresses and documents a "Vision of a soon-to-be emancipated 19th century Negress."
Gift of Bonnie Kelm & Bill Malis in Memory of Michael Darren Kelm
Aniuta is loved by foreign tourists and she in turn loves them for their foreign cash
Wood, stoneware, glaze and natural dyed rope
Using Russian communist propaganda as her starting point, this hexagonal wall hanging was created by the artist and was part of a faux trade show boothdepicting manipulated Communist government-sanctioned images of women. The installation, Fair Trade, was based on actual, detailed specifications established by the Communist Russian government for commercial, industrial fairs.
Using Russian communist propaganda as her starting point, this glazed vessel was created by the artist and was part of a faux trade show booththat borrowed and manipulated Communist government-sanctioned images of women. The installation, Fair Trade, was based on actual, detailed specifications established by the Communist Russian government for commercial, industrial fairs.
Using leaded glass, the three vertical windows are configured of universal symbols and pictorial elements taken from Mullican's visual vocabulary. The first window uses a single set of semi circles and a centralized square; subsequent windows in the set employ the same symbols but are more complex with multiple semi-circles, squares and triangles.
Glazed ceramic, chains, charms, beercan tabs, feathers and mixed media
Large hanging sculpture of glazed ceramic with charms, beercan tabs, feathers and other mixed media.
Paint, spray paint and collage on canvas
An ambiguous formal study, Brenna Youngbloods Risen approaches pure abstraction. The lower half of this composition is grounded by thin sheets of paper that have been molded and layered, providing the canvas with pockets of tension. A common feature of Youngbloods collage work, this wrinkly texture alludes to her hands-on approach to making art, as well as the tactile quality of her work which borders on sculpture.
Steel maquette with patinated surfce; circular forms with thin rod extending diagonally from forms attached to a rotating square base. Etched signature and date on top surface of base.
Gift of Michael Roby and Austin F. Dohrman III
Steel maquette with patinated surfce; circle form dissected into two planes and attached onto a square rotating base; etched signature and date on top surface of rotating base.
Lithograph and silkscreen with gold leaf and chine-collon paper, hand-cut and assembled, 10/45
Jane Hammond is best known for her paintings and prints that use a lexicon of 276 images, derived from commercial typography, tattoos, cartoons, ornamental graphics and period illustrations. These images recur throughout her body of work but are combined in myriad ways to create different effects and thereby manifest unique meanings. Spells and Incantations is a biographical work that incorporates a portrait of the artist and references Hammonds personal, familial memories. I was dreaming a lot about my grandmother. I spent much of my childhood with her and she spent much of her childhood in Egypt. I grew up around stories, photographs and objects from this faraway place.I have always wanted to make an Egyptian-based piece for some time using my lexicon of found images in a hieroglyphic context. I think of this piece as an amulet for propitious things in the journey of this life and beyond. Dated at bottom center; title at lower right, signed at lower left.
IMATANI, Garrick; SAND, Kaia
Files from Looseleaf Services, The Watcher Files Project
Garrick Imatanis work centers on issues related to archival exploration, artistic collaboration, and placemaking (an approach that considers the planning, design, and layout of public space in relation to the community). This mixed media work includes the files from the Looseleaf Services: (a) cardboard box entitled Looseleaf Services; (b) So He Raised His Hand, (documents) by Inge Bruggeman; (c) 12 stencils with description, designed by Katherine Ball. The Watcher File Project investigates and interprets, in various ways, records amassed by the Portland Police Bureau on 301 activist groups operating in the city between the 1960s through the 1980s. Such groups were under routine surveillance until an Oregon law was passed prohibiting the authorities from spying on factions not officially under criminal investigation. Imatanis participation in the exhibition is represented by Looseleaf Services, which consists of two major components: a filing cabinet holding various records reproduced as metal inserts, and a cardboard binder that sits atop the cabinet holding a publication subscription. For $40 a year subscribers receive primary and secondary source documents-addenda & errata-all punched with holes to slip into the binder. Additional materials that are sent to subscribers include artwork, poetry, essays, and small objects made by collaborators that relate to the materials within the files. All the materials including the filing cabinet are meant to be handled by visitors. By researching and making this information available, Imatani hopes to preserve the history of these activist groups as well as highlight the history of their surveillance.
b. United States, 1974 (Imatani); b. United States, 1971 (Sand)
The aesthetic sophistication of Ian McDonalds ceramic works speak to his conviction that pottery serves both non-functional and utilitarian purposes. Or, as McDonald has described his practice: "sculptural arrangements are born, in that the difference between the support (pedestal, furniture) and the object (sculpture, accessory) is so small that I just collapse it all together. I dont really start out thinking functional or non-functional, its all happening at once." McDonalds visual inspiration, which ranges from Amish quilts and Arte Povera to the work of other ceramicists and the California Bauhaus, are sources that can be discerned in the bold and simplified geometric works on display. The forms found in Tall Shade Vessel, Four Level, Banded Vessel, in addition to the mounted Corner Piece, are carefully constructed objects that demonstrate McDonalds great attention to design. Signed and dated on rim of circular base.
Jeff Onos fragile cube constructions draw direct correlations with architecture. The disposable materials he usedstraws, gum and tapeunderscores what he terms an ambivalence to architecture. Ono highlights the difference between the fragile, handcrafted nature of the work with the form and shape of brutalist architecture, the modernist, bunker-like concrete style of buildings popular in the 1960s and 70s. This work was the first piece of formal sculpture Ono executed in his career and lays the groundwork for his ongoing investigation of materials, process and architecture. Beyond being an example to students of how artists can use myriad, readily available materials to make their work, Onos sculpture finds further contextualization within the Museums vast Architecture and Design archives.
Drive (a back and forth through time to save lives)
Thread, photo iron-on transfer, permanent marker, vinyl, chroma Key blue screen
Todd Knopke calls his work flexible sculpture. He creates large, even monumental, fabric works that are sewn from many disparate recycled fabric swatches. He arranges these pieces, much like a collage, into representational images depicting figures and recognizable elements. They maintain, however, an ethereal and dreamlike quality. Recalling historical tapestries, each work represents narratives frequently derived from his past memories.
Painted acylic sleeping bags mounted in Plexi case.
"Art, for me, is a context to slow the viewer's experience from their everyday life in order to think about things they haven't thought about. Or to think in a new way." Tom Friedmans approach to understanding the world and its logic has long been expressed through the laborious, painstakingly precise and unexpected materials that he uses. His work is often autobiographical, recreating random elements from his own life and surroundings. To create these sculptures and objects, he uses everyday materials including Styrofoam, paint, paper, spaghetti, drinking straws, cards, clay, wire, plastic, hair and fuzz. Unfound Object with its random assortment of materials and objects suggests all the detritus that, having no value, remains unfound and unwanted.
ERICSON, Kate and ZIEGLER, Mel
Paper Collage with musical notes at in pencil
TANNER, Joan; REESE, Harry; REESE, Sandra
Edition consists of 20 portfolios; individual portfolios consists of a 16 page signature of handmade paper on which the artist's writing has been shaped and relief printed from metal type accompanied by 3 unique drawings. The AD&AM's copy consists of two portfolios, one without the drawings. The porfolio binding unfolds to reveal an original painting on a 10 x 16 inch wooden panel. (a) removable portfolio with images (b) painting loose portfolio without images (d) CD (e) videotape (f) paint brush
Fluorescent paper on panel with drawing, watercolor and print image located at center left
Glazed ceramic plate with orbs outlined in blue
Floor sculpture with painted colored Corten Steel.
Orange molded plastic square-like form ontop of a custom-made brass stand.
large bronze sculpture of intertwined figures; surface treatment includes stipled effect; signed at lower right.
b. Allan C. Haozous, Chiricahua Apache, 1914-1994
wood box with top sliding lid; contains 35 individual collages/sheets of paper; one is made in shell dispenser with paper roll
Given in memory of Paul Chadbourne Mills
Crude sculpture of the torso and head of a female figure in madrone wood.
Oak sculpture; long plank witht wo forms attached; at left is an upright form; at right, triangular form both have surface holes.
Vertical sculpture in the form of an eloganted cube representing a figure.
Enlarged thermos and lunchbox crafted in gray polyester resin
b. 1964 Switzerland, lives and works in New York City
Cylindrical pot with handle, thin spout and lid;Beatrice Wood was a master ceramicist whose works, so seemingly simple, belie a rigor that few modern artists had achieved prior. She was internationally recognized for the beauty of her forms and the startling quality of her lusters. Luster, the glazed surface, is produced through the careful combination of chemicals, which are brushed onto the clay surfaces, and the firing process during which oxygen is reduced for prescribed periods of time. Wood began making ceramics at the age of 40 upon enrolling in an adult education class. She developed recipes for a myriad of lusters which look similar to ancient antique vessels. This similarity in appearance is understandable given the artists life-long interest in folk crafts and her exploration of universal shapes and forms. Historians attribute Woods daring developments in ceramics to her involvement with the Dada movement in the early 1900s, which cultivated an ironic and playful sensibility that encouraged a disavowal of prescribed ideas about art. Indeed this flamboyant artist was often referred to as the Mama of Dada and counted artists such as Marcel Duchamp as good friends. And like Duchamps porcelain urinal, Fountain, Woods works claimed an irrepressible sense of freedom that looked towards the progressive in art
Four Jars from Winter Cellar Series
etched jars, vegetables: wax beans, corn, green beans and tomato sauce
Gift of Councilman Joel Wachs, Los Angeles
Sachzwang III (Administration Complex III)
A construction composed of file drawers arranged in a square formation, held together with wood and steel strapping.
Print, laquer and polyester resin on aluminum
An avid motorcycle rider, Billy Al Bengston adapted the spray-gun technique used in customizing cycles to his own art work in the 1960s. Working on the unyielding surfaces of Masonite or metal, Bengston employed spray guns and airbrushes to achieve a sleek surface which he then marked with a recognizable yet out-of-context symbols, such as a cross, heart, iris, or, as in this work, sergeant stripes. While familiar, these centrally placed emblems resist a narrative interpretation and instead heighten awareness of the painted surface. Similarly, the dented metal both disrupts the composition and becomes art of it.
Bengston, Billy Al American, b. 1934
wood plank, 10 cement blocks, wire cable.
Vasa Mihich creates his optically complex sculptures by laminating clear industrially-made acrylic sheets between thinner colored acrylic sheets. Once polished, the geometric forms can appear to be made of solid transparent colors even though they may be up to 90% clear. Comprehending the construction can be difficult, since areas may appear transparent when in fact they are showing a reflection.
Memorial urn in two pieces: (a) vessel (b) lid.
graphite, colored pencil, acrylic on wood
Two sided mixed media work with a male figure on one side;; second side includes a female figure with starfish form.
Oblique Strategies: One Hundred Worthwhile Dilemmas
In 1975, theBritish musician, producer, and visual artist, Brian Eno, together with the late English painter Peter Schmidt, addressed the challenge of breaking out of creative roadblocks by writing a series of phrases they dubbed "worthwhile dilemmas." These phrases, which suggest approaches from another direction, became known as Oblique Strategies. Originally published as a deck of cards in an austere format, they became an underground hit and sold out in three revised editions and were part of the Norton Christmas Gift. In 1996, as the Strategies were long out of print, Mr. Norton suggested to Eno a "fourth, yet again revised, and more universal edition." Norton edited the newly revised phrases and commissioned their translation into the six languages collectively spoken (English, Mandarin, Hindi, Spanish, Russian, and Arabic). Artist Pae White was commissioned to turn the cards' plain black-and-white format into an extravagantly colored format and housed in a Corian container that is known separately as "Bill's Bad Bone." These strategy cards have found widespread use in dozens of countries, at writers' desks, in artists' studios, and even in boardrooms.
British, b. 1948 (lives in the United States)
Ceramic vessel in the shape of an elongated gourd with a very smooth surface.
Gift of Barry A. Kitnick and Jill Alexander Kitnick, Anthony Slayter-Ralph and the artist
Rectangular sheet of metal: recto includes 4 circles on a purple field, verso has six regtangular painted areas; mounted on steel support shaft attached to black base. Sculpture is deisigned to move with a breeze
acrylic medium, pigment, carpet pad on card board
recycled fiber carpet pad with numerous smears of acrylic paint and incised areas
Steel light box with Fluorescent lights and movie strip
Brushed steel square with horizontal slit cut into center.Gretchen Benders work mines the tropes and language of mass media which she considered a cannibalistic riverthat absorbs everything. Her work, Total Recall, has a sinister appearance with its cold, metal surface and horizontal slit. Only by stepping closer and peering into the seeming void can viewers make out the illuminated words: Life Force, Moving Violation, Bio Toxin and Code of Silence, among others, all film titles. As she states: We recognize the film industry as a very important part of our culture economically and aesthetically and I think its a whole area that should be provoked more. Film and its invocations are much more powerful instruments economically and politically in our lives than we seem aware of. We say were aware of it, but in a glib way. Benders work explores the relationship between the film industry and the multi-national corporations that own them and in her words, own the worldthe mechanisms that make the world run.
Caryatid Figure from the ARCO building
Irregular black shape with curved protrusions at top and right. Copper cube and and square plaque mounted at top left.
Graphite, pigment, stamps, paper on wood with cassette tape
clay vessel with gold luminescent glaze; cylindrical in shape with 4 legs on bottom;Beatrice Wood was a master ceramicist whose works, so seemingly simple, belie a rigor that few modern artists had achieved prior. She was internationally recognized for the beauty of her forms and the startling quality of her lusters. Luster, the glazed surface, is produced through the careful combination of chemicals, which are brushed onto the clay surfaces, and the firing process during which oxygen is reduced for prescribed periods of time. Wood began making ceramics at the age of 40 upon enrolling in an adult education class. She developed recipes for a myriad of lusters which look similar to ancient antique vessels. This similarity in appearance is understandable given the artists life-long interest in folk crafts and her exploration of universal shapes and forms. Historians attribute Woods daring developments in ceramics to her involvement with the Dada movement in the early 1900s, which cultivated an ironic and playful sensibility that encouraged a disavowal of prescribed ideas about art. Indeed this flamboyant artist was often referred to as the Mama of Dada and counted artists such as Marcel Duchamp as good friends. And like Duchamps porcelain urinal, Fountain, Woods works claimed an irrepressible sense of freedom that looked towards the progressive in art
Child's dress dipped in plaster of Paris, interior decorated with colored ink and graphite inscriptions
Composition with Y.B. and R. #33
"wonder" brand english muffin bags, acrylic, fasteners
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.
GONZALEZ, Michael b. United States, 1953
Two metal forms with rounded top fused with white plaster.
Beatrice Wood was a master ceramicist whose works, so seemingly simple, belie a rigor that few modern artists had achieved prior. She was internationally recognized for the beauty of her forms and the startling quality of her lusters. Luster, the glazed surface, is produced through the careful combination of chemicals, which are brushed onto the clay surfaces, and the firing process during which oxygen is reduced for prescribed periods of time. Wood began making ceramics at the age of 40 upon enrolling in an adult education class. She developed recipes for a myriad of lusters which look similar to ancient antique vessels. This similarity in appearance is understandable given the artists life-long interest in folk crafts and her exploration of universal shapes and forms. Historians attribute Woods daring developments in ceramics to her involvement with the Dada movement in the early 1900s, which cultivated an ironic and playful sensibility that encouraged a disavowal of prescribed ideas about art. Indeed this flamboyant artist was often referred to as the Mama of Dada and counted artists such as Marcel Duchamp as good friends. And like Duchamps porcelain urinal, Fountain, Woods works claimed an irrepressible sense of freedom that looked towards the progressive in art
Images of arrows and a grid system painted on clear Plexiglas.Nancy Dwyer likens her work to pictograms or signs that comment on the ways and means by which the media, especially advertising, infiltrates and seduces the public. She attempts to undermine advertising by using the language and graphic design inherent to it. In Diet Life Force, Dwyer shows brightly colored arrows that zoom toward the center of a mirrored expanse, perfectly framing the viewer. Like a lot of marketing related to diets, the work both distorts ones body image and also seems to proffer a fast, easy solution easy.
buttons (29, black) on canvas, black yarn
Black buttons attached to white canvas with black yarn
corn husks, starched muslin over wire armature; copper and wood base
Gift of Michael Warshaw and Claudia Sole
Bronze scultpure of a small skull on a stone base.
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
part of "German Language Summits" series
Rose fur direkte Demokratie, [Rose for Direct Democracy]
Rose fur direkte Demokratie etched in glassThis multiple derives from Josef Beuys Office for Direct Democracy through Referendum (ODD) installation at Documenta 5 (1972) and is typical of the Fluxus artists call for an engaged conceptual art practice that would break down clear-cut distinctions between established art discourse and the politics of everyday life. Beuys employed two parallel processes during this period, namely the creation of concrete artworks and action-performances on the one hand, and counter-institutional frameworksthe basis for free grass-roots public debate on social and ideological issues, particularly the dismantling of traditional party politicson the other. For Documenta, he transposed the Dseldorf office of ODDdesks, filing cabinets, blackboardsdirectly into the exhibition space, creating an information and educational center designed to critique and expand the institutional framework of the event itself. The office included two multiples: We wont do it without the rose, a photograph depicting Beuys didactically engaging with a Documenta visitor; and Rose for direct democracy, a single red rose in an etched, graduated chemistry beaker. The symbolic meaning of the latter is fairly clear, constructing a dialectical binary between passionate love and revolutionary socialism, art and science, bodily affect and empirical investigation. However, Beuys also saw the rose as symptomatic of an evolutionary progress toward a concrete revolutionary goal outside of conventional party hierarchies. (CHECK FILE FOR FULL TEXT0
curvilinear form w/ rectangular center space
BAYER, Herbert and KNOWLES, Mel (fabricator)
Gift of Elena Siff Erenberg and Samuel Erenberg
English, Castleford, Yorkshire 1898 - 1986 Much Hadham, Hertford
Maquette for Reclining Interior Oval