<strong>ZITO</strong>, Joseph
<em>Curved Corner</em>
cast hydrostone
120 x 18 x 18 in.
<strong>ZITO</strong>, Joseph
American, 1957-
Gift of Cliff and Mandy Einstein
1990
1997.3
<strong>ZIPERSTEIN</strong>, Bari
<em>Aniuta is loved by foreign tourists and she in turn loves them for their foreign cash</em>
2016
Wood, stoneware, glaze and natural dyed rope
23 3/4 X 27 X 3"
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.
<strong>ZIPERSTEIN</strong>, Bari
Museum purchase
2016
2017.002.002
<strong>ZIPERSTEIN</strong>, Bari
<em>Lives worse than a prostitute</em>
2016
Terracotta, underglaze and glaze
15 3/4 h. X 37" dia.
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.
<strong>ZIPERSTEIN</strong>, Bari
Museum purchase
2016
2017.002.001
<strong>ZAMMITT</strong>, Norman
<em>Honeycomb</em>
ca. 1960-60
molded plastic
50 3/4 x 23 x 5"
Orange molded plastic square-like form ontop of a custom-made brass stand.
<strong>ZAMMITT</strong>, Norman
b. Canada, 1931
Gift of Judith T. and Milton R. Stark
1960
2006.001.001a,b
<strong>ZAJAC</strong>, Jack
<em>Small Skull After Orvieto</em>
Bronze with stone base
10 1/2 x 16 x 7" OVERALL
Bronze scultpure of a small skull on a stone base.
<strong>ZAJAC</strong>, Jack
b. United States, 1929
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
1977
1997.47
<strong>YOUNGBLOOD, </strong>Brenna
<em>Risen</em>
2007
Paint, spray paint and collage on canvas
49 x 36 1/2" FRAMED
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.
<strong>YOUNGBLOOD</strong>, Brenna
b. United States, 1979
Gift of Joan and Stuart Levin
2007
2015.017.001
<strong>WOOD</strong>, Beatrice
<em>Unknown Title (Pitcher)</em>
n.d.
Painted ceramic
9 x 7 x 6 "
Painted ceramic tripod pitcher painted blue with painted pink flowers and other decorations. Signed and numbered by the artist on the bottom.
<strong>WOOD</strong>, Beatrice
b. United States, 1950-2017
Estate of Frances Garvin and Keith Julius Puccinelli
n.d.
2018.001.101
<strong>WOOD</strong>, Beatrice
<em>Tea Pot</em>
20th C
terra cotta with luster glaze
9 3/4 x 9 1/2 x 4 1/2 in.
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
<strong>WOOD</strong>, Beatrice
United States, 1893-1997
Gift of Gary H. Brown
20th century
1999.39.a-.b
<strong>WOOD</strong>, Beatrice
<em>Vessel</em>
n.d.
terra cotta with luster glaze
5 5/8 x 2 3/4 in. dia.
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
<strong>WOOD</strong>, Beatrice
United States, 1893-1997
Gift of Gary H. Brown
n.d.
2000.1
<strong>WOOD</strong>, Beatrice
<em>Vessel</em>
terra cotta with luster glaze
4in. x 4 3/4in. x 4in.
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
<strong>WOOD</strong>, Beatrice
United States, 1893-1997
Gift of Gary H. Brown
n.d.
1998.1
<strong>WOOD</strong>, Beatrice
<em>Vase</em>
terracotta, blue glaze
5 1/2 x 7 1/2" dia.
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
<strong>WOOD</strong>, Beatrice
United States, 1893-1997
Gift of Gary H. Brown
1948
1997.4
<strong>WOOD</strong>, Beatrice
<em>Vase</em>
teracotta, blue glaze
7 1/2 x 4 1/2 in.
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
<strong>WOOD</strong>, Beatrice
United States, 1893-1997
Gift of Gary H. Brown
late 1950's/early 1960's
1997.16
<strong>WOOD</strong>, Beatrice
<em>Vase</em>
teracotta, red luster glaze
3 1/2 x 4 3/4 in.
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
<strong>WOOD</strong>, Beatrice
United States, 1893-1997
Gift of Gary H. Brown
late 1950's/early 1960's
1997.15
<strong>WOOD</strong>, Beatrice
<em>Plate with blue luster glaze</em>
Ceramic with blue luster glaze
1 1/8 h. x 7 1/2" dia.
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
<strong>WOOD</strong>, Beatrice
b. United States, 1893-1997
Gift of Mrs. William T. Campbell
20th C.
1969.232
<strong>WOOD</strong>, Beatrice
<em>Ceramic Plate with Nude Female on a Horse</em>
Ceramic with luster glaze
1 1/2 h. x 12 3/4" dia. in.
irridescent glazed rimBeatrice 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
<strong>WOOD</strong>, Beatrice
b. United States, 1893-1997
Gift of Mrs. William T. Campbell
20th C
1969.231
<strong>WOOD</strong>, Beatrice
<em>Ceramic Plate with Horse and Standing Rider</em>
Ceramic with glaze
2 h. x 11 3/4" dia.
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.
<strong>WOOD</strong>, Beatrice
b. United States, 1893-1997
Gift of Mrs. William T. Campbell
20th C.
1969.23
<strong>WILSON</strong>, Dermott
<em>Sculpture</em>
bronze
9 1/2 x 7 1/2 in.
<strong>WILSON</strong>, Dermott
1966
1966.1
<strong>WALKER, </strong>Kara
<em>Freedom, A Fable</em>
1997
Pop-up book
6 x 16 x 8 1/4" OPEN
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."
<strong>WALKER, </strong>Kara
b. United States, 1969
Gift of Bonnie Kelm & Bill Malis in Memory of Michael Darren Kelm
1997
2017.005.001
<strong>VILLEGAS</strong>, Maria Amelia
<em>Untitled</em>
1977
Metal
58 X 92 X 24" APPROXIMATE
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.
<strong>VILLEGAS</strong>, Maria Amelia
Gift of Dr. and Mrs. Fima Lifshitz
1977
2017.014.009
<strong>VILLEGAS</strong>, Maria Amelia
<em>Woman</em>
1977
Metal
25 x 17 x 4 1/2" APPROXIMATE
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.
<strong>VILLEGAS</strong>, Maria Amelia
Gift of Dr. and Mrs. Fima Lifshitz
1977
2017.014.008
<strong>VILLEGAS</strong>, Maria Amelia
<em>Man</em>
1977
Metal
25 x 17 x 4 1/2" APPROXIMATE
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.
<strong>VILLEGAS</strong>, Maria Amelia
Gift of Dr. and Mrs. Fima Lifshitz
1977
2017.014.007
<strong>VILLEGAS</strong>, Maria Amelia
<em>Origins of Life</em>
1978
Metal, copper, glass with electified light
54 x 84 1/5 x 13 1/2" APPROXIMATE
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.
<strong>VILLEGAS</strong>, Maria Amelia
Gift of Dr. and Mrs. Fima Lifshitz
1978
2017.014.006
<strong>VASA</strong> (MIHICH, Vasa Velizar)
<em>#466</em>
1971
Cast laminated acrylic
10 7/8 in. dia. OVERALL
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.
<strong>VASA</strong> (MIHICH, Vasa Velizar)
b. Yugoslavia, 1933
Gift of the Lynn K. Altman Family Trust
1971
2017.007.001
<strong>VASA</strong> (MIHICH, Vasa Velizar)
<em>Untitled</em>
lucite
58 1/4" x 11 1/8" x 3 1/2"
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.
<strong>VASA</strong> (MIHICH, Vasa Velizar)
American, Yugoslavia 1933 -
Gift of Mrs. Ruth Kriegel
n.d.
1981.78.a-e
<strong>Valenti, </strong>Italo
<em>Untitled</em>
1981
mixed media
13 1/2 x 12"
Dark gray mixed media collage
<strong>Valenti</strong>, Italo
Swiss, b. 1912
Gift of Paul Tuttle Estate
1981
2002.009.001
<strong>TORRES</strong>, Sandra
<em>About Flowers</em>
n.d.
Porcelain
16 h. x 4 1/2" dia. OVERALL
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.
<strong>TORRES</strong>, Sandra
Estate of Frances Garvin and Keith Julius Puccinelli
n.d.
2018.001.096
<strong>TODT</strong>
<em>Loyalty Oath</em>
1987-88
porcelain toilet, metal framework, chains, tubing, levers
108in. x 36in. x 36in.
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".
<strong>TODT</strong>
American
Gift of Ruth and Jake Bloom
1987-88
1997.73
<strong>TIBBLES</strong>, Susan
<em>Dear Helen</em>
1992
Wood, tree branches, paper ink in Plexiglas frame
29 x 19 1/2 x 1 1/2'' FRAMED
Assemblage composed of a wooden frame in the shape of a house inset with gears surrounded by tree branches; work is housed in Plexiglas papered with postcards and stamps. At lower right, signed.
<strong>TIBBLES</strong>, Susan
Estate of Frances Garvin and Keith Julius Puccinelli
1992
2018.001.094
<strong>THOMAS</strong>, Robert
<em>Poet's Hand</em>
bronze
21 7/8 x 9 1/8 x 9 1/8 in. with base
with base
<strong>THOMAS</strong>, Robert
American, 1924 - 1987
1970
1995.59
<strong>THOMAS</strong>, Robert
<em>Untitled</em>
stone, pigment, wood base
13 3/4 x 27 x 7 in.
<strong>THOMAS</strong>, Robert
American, 1924 - 1987
Gift of Barry and Gail Berkus
1981
1993.7
<strong>THOMAS</strong>, Robert
<em>Phoenix</em>
brass
37 x 14 3/4 x 17 in.
<strong>THOMAS</strong>, Robert
American, 1924 - 1987
Gift of Howard and Jean Fenton
1960
1993.1
<strong>THOMAS</strong>, Robert
<em>Bill</em>
1967
wood relief, paint
36 x 41 x 17 in.
<strong>THOMAS</strong>, Robert
American, 1924 - 1987
Gift of Professor Miles Varner
1967
1975.103
<strong>TANNER</strong>, Joan; <strong>REESE</strong>, Harry; <strong>REESE</strong>, Sandra
<em>Turnings</em>
1990-92
mixed media
18 1/2 x 13 1/2"
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
<strong>TANNER</strong>, Joan; <strong>REESE</strong>, Harry; <strong>REESE</strong>, Sandra
b. United States, 1935
Gift of Lillian and Jon Lovelace
1990-92
2010.001.008a-f
<strong>SUAREZ</strong>, Christopher
<em>Anaheim Center</em>, 2022
Ceramic with paint
17 x 28 x 11"
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. <br /><br />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.”
<strong>SUAREZ</strong>, Christopher
b. United States, 1994
Museum purchase
2022
2023.003.001
<strong>STOUT</strong>, Renée
<em>Her Medicine Cabinet</em>
1991
wood, glass bottles and photograph
15 5/8 x 11 5/8 x 4 5/8 in.
<strong>STOUT,</strong> Renée
American, b. 1958
Gift of Doran H. Ross
1991
1999.111
<strong>SHELTON</strong>, Peter
<em>little principal (Bush Stick)</em>
copper
62 x 6 dia. in.
<strong>SHELTON</strong>, Peter
American, Troy, OH, 1951 -
Gift of Betty and Bob Klausner
1981
1994.17
<strong>SEW HOY</strong>, Anna
<em>Bookend</em>
2007
Glazed ceramic
10 h. x 9" dia.
A globular cluster of oblong shapes with a dark and light blue glaze.
<strong>SEW HOY</strong>, Anna
b. New Zealand
Gift of Marc Selwyn Fine Art, Beverly Hills
2007
2018.017.005
<strong>SEW HOY</strong>, Anna
<em>Violetnoir</em>
2004
Glazed ceramic, chains, charms, beercan tabs, feathers and mixed media
20 x 16 x 13"
Large hanging sculpture of glazed ceramic with charms, beercan tabs, feathers and other mixed media.
<strong>SEW HOY</strong>, Anna
b. New Zealand
Gift of Stanley and Gail Hollander
2004
2016.003.001
<strong>SEAGER</strong>, Sarah
<em>Untitled (axe handle)</em>
1991
wood, enamel
36 x 2 1/2 x 1 1/4 inches
<strong>SEAGER</strong>, Sarah
American, 1958-
Gift of Marc Selwyn
1991
1996.67
<strong>SCOTT</strong>, Judith
<em>Untitled (Wire)</em>
1990
Wire
12 x 27 x 3 1/4" OVERALL
Colorful wire wrap
<strong>SCOTT</strong>, Judith
b.United States, 1943-2005
Estate of Frances Garvin and Keith Julius Puccinelli
1990
2018.001.573
<strong>SCOTT</strong>, Charles
<em>Untitled</em>
2006
Washcloth, cotton and ink
8 1/4 x 12" OVERALL
Greyish washcloth folded along top covering 1/2 of an orange spherical.
<strong>SCOTT</strong>, Charles
b. United Kingdom, 1974
Gift of Marc Selwyn Fine Art, Beverly Hills
2006
2018.017.016
<strong>SCOTT, </strong>Charles
<em>Washington Beauties</em>
framed, boxed collage: wood, paper, rubber
8 1/2 x 12 5/8 x 1 3/4 in.
<strong>SCOTT</strong>, Charles
Gift of Professor Miles Varner
1973
1975.104
<strong>SCHORR</strong>, Collier
<em>Spill Dream #1</em>
1991
Plaster of Paris, fabric, grahite, ink
overall: 16 1/2 x 12 x 9 1/2 in.
Child's dress dipped in plaster of Paris, interior decorated with colored ink and graphite inscriptions
<strong>SCHORR</strong>, Collier
1991
1999.91
<strong>SCHNITGER</strong>, Lara
<em>June Gloom</em>
2010
Wood and acrylic
18 x 21 x 1 1/2" OVERALL
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.
<strong>SCHNITGER</strong>, Lara
b. United States, 1976
Gift of Marc Selwyn Fine Art, Beverly Hills
2010
2018.017.028
<strong>SCHMIDT</strong>, Julius
<em>Sculpture</em>
Cast aluminum
13 1/4 x 7 x 7 in.
<strong>SCHMIDT</strong>, Julius
United States, b.1923
Gift of Donna Bear Scott
n.d
1987.57
<strong>SCHLEGELL</strong>, David von
<em>Maquette for Aircraft Series</em>
aluminum
12 1/4 x 13 7/8 x 15 in.
<strong>SCHLEGELL</strong>, David von
American, , 1920 - 1992
Gift of Mrs. Harriette Von Breton
1968
1976.44
<strong>SCHLEGELL</strong>, David von
<em>Maquette</em>
aluminum
36 x 36 x 28 inches
<strong>SCHLEGELL</strong>, David von
American, St. Louis Missouri, 1920 - 1992
Gift of the artist
1968
1968.101
<strong>ROTHSCHILD</strong>, Judith
<em>Wheel of Fortune</em>
1971
collage
20 x 30 in.
Throughout her artistic career, Judith Rothschild was deeply influenced by European modernism exemplified in the work of Henri Matisse, Pablo Picasso and Joan Mir<span>ó</span>. 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.
<strong>ROTHSCHILD</strong>, Judith
United States, 1921 - 1993
Gift of Mrs. Kay Hillman through UCSB Art Affiliates
1971
1971.157
<strong>ROBINSON</strong>, Walter
<em>Pink Camel</em>
ca. 2007
Wood, epoxy, and styrofoam
21 x 23 x 4" OVERALL
Pink camel shaped sculpture with small multi colored dots.
<strong>ROBINSON</strong>, Walter
b. United States, 1950
Estate of Frances Garvin and Keith Julius Puccinelli
2007
2018.001.082
<strong>RICKEY</strong>, George
<em>Study Round and Square</em>
1999
Metal and acrylic
8 1/8 x 3 1/2 x 3 inches
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
<strong>RICKEY</strong>, George
American, 1907-2002
Gift of George Rickey
1999
2000.70
<strong>RICKEY</strong>, George
<em>Two Lines Horizontal</em>
Stainless steel with wood base
34 1/4 x 36" WITH BASE
Sculpture of two horizontal stainless steel pieces balancing on a vertical stainless steel pole attached to a wood base.
<strong>RICKEY</strong>, George
American, 1907 - 2002
Gift of George and Edith Rickey
1967
1967.3
<strong>RABINOWITCH</strong>, David
<em>Linear Mass in 3 Scales, III</em>
ca. 1972 - 1973
cold rolled steel
1 1/2 x 84 x 3 in.
<strong>RABINOWITCH</strong>, David
American, Toronto 1943 -
Gift of Daniel Weinberg
1972-73
1990.11
<strong>PICASSO</strong>, Pablo
<em>Tauromachy Scene</em>
1959
White earthenware clay, ed. 65/100
16 3/8 in. dia. OVERALL
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.
<strong>PICASSO</strong>, Pablo
b. Spain, 1881-1973
Gift of Lynn K. Altman Family Trust
1959
2017.007.008
<strong>PICASSO</strong>, Pablo
<em>Mat Wood-Owl</em>
1958
White earthenware clay, ed. 200
10 5/8 x 6 1/8 x 7 3/4 in. OVERALL
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.
<strong>PICASSO</strong>, Pablo
b. Spain, 1881-1973
Gift of Lynn K. Altman Family Trust
1958
2017.007.007
<strong>PICASSO</strong>, Pablo
<em>Four Dancers</em>
1956
White earthenware clay
24 3/4 x 15 3/4 x 2 1/2 in.
Convex white earthenware clay wall plaque with four figures created from raised white forms on black ground.
<strong>PICASSO</strong>, Pablo
b. Spain, 1881-1973
Gift of Lynn K. Altman Family Trust
1956
2017.007.006
<strong>PICASSO</strong>, Pablo
<em>Bearded Man's Wife</em>
1953
White earthenware clay with matte finish, ed. 50
14 3/4 x 7 1/2 x 9 5/8 in.
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.
<strong>PICASSO</strong>, Pablo
b. Spain, 1881-1973
Gift of Lynn K. Altman Family Trust
1953
2017.007.005
<strong>PICASSO</strong>, Pablo
<em>Seized Handle Pitcher</em>
1953
White earthenware clay, 64/200
7 7/8 x 4 3/8 x 11 3/8 in.
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.
<strong>PICASSO</strong>, Pablo
b. Spain, 1881-1973
Gift of Lynn K. Altman Family Trust
1953
2017.007.004
<strong>PICASSO</strong>, Pablo
<em>Vase with Goats</em>
1952
White earthenware clay, ed. 40
9 1/4 in. dia. OVERALL
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.
<strong>PICASSO</strong>, Pablo
b. Spain, 1881-1973
Gift of Lynn K. Altman Family Trust
1952
2017.007.003
<strong>PICASSO</strong>, Pablo
<em>Goat's Head in Profile</em>
1952
White earthenware clay, 61/100
16 1/8 in. dia. OVERALL
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.
<strong>PICASSO</strong>, Pablo
b. Spain, 1881-1973
Gift of Lynn K. Altman Family Trust
1952
2017.007.002
<strong>PICASSO</strong>, Pablo
<em>Plate</em>
1964
Ceramic with glaze
3/4 h. x 9 7/8" dia.
Glazed ceramic plate with orbs outlined in blue
<strong>PICASSO</strong>, Pablo
Spanish, 1881-1973
Gift of Mary S. and Lou Cannon
1964
2008.003.001
<strong>PAZ</strong>, Manolo
<em>Untitled</em>
1994
Carved granite
45" DIA. APPROXIMATE WITHOUT BASE.
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.
<strong>PAZ</strong>, Manolo
Gift of Dr. and Mrs. Fima Lifshitz
1994
2017.014.005
<strong>PATIGIAN</strong>, Haig
<em>Caryatid Figure from the ARCO building</em>
1928-29
terra cotta, metal base
57 x 35 x 29 in.
<strong>PATIGIAN</strong>, Haig
1876 -1950
1928-1929
2000.5
<strong>PATERSON</strong>, Susan
<em>Round White Porcelain Bowl</em>
porcelain
2 1/2 x 4 in.
<strong>PATERSON</strong>, Susan
1967
1967.65
<strong>PALLY</strong>, marc
<em>Untitled</em>
2010
Aluminum, Plexiglas, mirror, stretch wrap and enamel
24 x 18 x 15"
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.
<strong>PALLY</strong>, marc
b. United States, 1978
Gift of Marc Selwyn Fine Art, Beverly Hills
2010
2018.017.010
<strong>PALLY, </strong>Marc
<em>Alhambra</em>
1994
graphite, colored pencil, acrylic on wood
23 7/8 x 23 7/8 x 3 1/8 in.
Two sided mixed media work with a male figure on one side;; second side includes a female figure with starfish form.
<strong>PALLEY</strong>, Marc
b. United States, b. 1946
Gift of Peter Norton
1994
2001.37
<strong>ONO</strong>, Yoko
<em>Ceramic shard and napkin signed by Yoko Ono</em>
1994
Ink, ceramic and paper
5 1/2 x 7 x 1 7/8" (a); 4 7/8 x 4 3/4" (b)
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".
<strong>ONO</strong>, Yoko
b. United States, 1961
Estate of Frances Garvin and Keith Julius Puccinelli
1994
2018.001.077a,b
<strong>ONO</strong>, Jeff
<em>My favorite/All of my thoughts</em>
1997
Straws, gum and tape
23 x 23 x 23" OVERALL each of 2
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.
<strong>ONO</strong>, Jeff
b. United States, 1973
Gift of Nancy Delman Portnoy
1997
2013.005.001
<strong>OFILI</strong>, Chris
<em>Maquette: Half Moon Blue</em>, 2005
Bronze with blue pigment
16 x 11 1/2 x 9"
<strong>OFILI</strong>, Chris, b. Great Britain, 1968
Gift of Stanely and Gail Hollander
2005
2016.003.004
<strong>ODUNDO</strong>, Magdalene
<em>Untitled #6</em>
1995
ceramic
Ceramic vessel in the shape of an elongated gourd with a very smooth surface.
<strong>ODUNDO</strong>, Magdalene
b. Kenya, 1950
Gift of Barry A. Kitnick and Jill Alexander Kitnick, Anthony Slayter-Ralph and the artist
1995
2000.71
<strong>OCHOA</strong>, Ruben
<em>Steel Life Porcelana</em>
2014
Porcelain, steel wire with concrete base, 11/12
5 1/2 x 22 1/8 x 7 3/4" OVERALL
Two part sculptural object consisting of porcelain and concrete elements with steel wire. Top part (a) contains numerous steel-like pieces of porcelain wrapped in steel wire. Lower part (b) is a rectangular-shaped block made of concrete. On underside of porcelain rods read "C5W60". On underside of brick base, on a steel plate, edition statement, artist signature and date.
<strong>OCHOA</strong>, Ruben
b. United States, 1974
Museum purchase
2014
2017.006.001a,b
<strong>OATES</strong>, Daniel
<em>Lunchbox and Thermos</em>
1992
polyester resin
lunchbox: 16 1/4 x 14 1/4 x 8 1/2 in.; thermos: 22 1/2 x 8...
Enlarged thermos and lunchbox crafted in gray polyester resin
<strong>OATES</strong>, Daniel
b. 1964 Switzerland, lives and works in New York City
1992
1999.90.a-.b
<strong>O'LEARY</strong>, Dennis
<em>Ceramic Pot with Lavendar Design</em>
ceramic, glaze?
9 1/2 in.
<strong>O'LEARY</strong>, Dennis
1967
1967.62
<strong>MULLICAN</strong>, Matt
<em>Untitled (3 Windows)</em>
1988
Wood and leaded glass
53 3/4 x 29 1/2 x 1 3/4" ea. of three
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.
<strong>MULLICAN</strong>, Matt
b. United States, 1951
Gift of Merry Norris
1988
2016.009.001a-c
<strong>MORGIN</strong>, Kristen
<em>Untitled (paint Can Led Mickey)</em>
2011
Unrefined clay, paint and wire
5 1/2" dia.
Clay formed in the shape of Mickey Mouse and a paint can lid; ears formed by painted bottle caps.
<strong>MORGIN</strong>, Kristen
b. United States, 1968
Gift of Marc Selwyn Fine Art, Beverly Hills
2011
2018.017.012
<strong>MOORE</strong>, Henry
<em>Maquette for Egg Form: Pebbles</em>
1977
bronze
bronze: 3 x 4 x 3 1/4 in.; with base: 4 1/8 x 5 1/4 x 4 1/4 in.
<strong>MOORE</strong>, Henry
English, Castleford, Yorkshire 1898 - 1986 Much Hadham, Hertford
Gift of Katharine W. Tremaine
1977
1985.97
<strong>MOORE</strong>, Henry
<em>Maquette for Reclining Interior Oval</em>
1965
bronze, painted bronze base
5 1/8 x 8 x 3 1/2 in. (includes base)
<strong>MOORE</strong>, Henry
English, Castleford, Yorkshire 1898 - 1986 Much Hadham, Hertford
Gift of Katharine W. Tremaine
1965
1985.96
<strong>MONTILLA</strong>, ELISA ORTEGA
<em>Acculturation so Far</em>
Pine and reclaimed textiles
60 x 20 x 10" OVERALL
2018
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."
<strong>MONTILLA</strong>, ELISA ORTEGA
b. Spain
Gift of the artist
2018
2021.001.001
<strong>MILLER</strong>, Alec
<em>Jane Eleanor Rowsell Wilgress</em>
maple wood
17 1/2 x 13 1/2 x 8 3/4 in.
Portrait bust.
<strong>MILLER</strong>, Alec
Scottish, Glasgow 1879 - 1961
Gift of Mrs. Alec Miller
1931
1971.55
<strong>MILLER</strong>, Alec
<em>Nicholas Rowsell Miller</em>
maple wood
8 3/4 x 4 x 3 7/8 in.
Portrait head.
<strong>MILLER</strong>, Alec
Scottish, Glasgow 1879 - 1961
Gift of Mrs. Alec Miller
1942
1971.54
<strong>MILLER</strong>, Alec
<em>Artemis</em>
wood sculpture (cherry wood?)
18 1/2 x 6 dia. in. (includes base)
<strong>MILLER</strong>, Alec
Scottish, Glasgow 1879 - 1961
Gift of Mrs. Alec Miller
ca. 1961
1970.2
<strong>MEYERS</strong>, Paul
<em>Untitled</em>
1970?
cadmium plated steel
closed form: 8 3/4 inches cubed
cubed steel box with hinges so box unfolds into multiplanar object
<strong>MEYERS</strong>, Paul
1970?
1970.36
<strong>MCDONALD</strong>, Ian
<em>Banded Vessel</em>
2012
Glazed ceramic
12" h. x 5 1/4" dia.
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.
<strong>MCDONALD</strong>, Ian
b. United States, 1975
Gift of Ian McDonald
2012
2014.014.001
<strong>MAZANDI</strong>, Yassi
<em>Untitled (six petals)</em>
2018
English porcelain
32 3/4" h. x 10" dia. WITH SUPPORT
Porcelain scultpure in the form of a flower.
<strong>MAZANDI</strong>, Yassi
b. Iran
Museum purchase
2018
2018.022.001
<strong>MANSHIP</strong>, Paul
<em>Urn</em>
1919
alabaster
overall: 19 1/4 x 11 x 9 in.
Memorial urn in two pieces: (a) vessel (b) lid.
<strong>MANSHIP</strong>, Paul
American, 1885 - 1966
Gift of Eric Gugler
1919
1969.3.a-b
<strong>MANSHIP</strong>, Paul
<em>Piet</em>
plaster relief
33 1/2 x 41 3/8 x 5 in.
<strong>MANSHIP</strong>, Paul
American, 1885 - 1966
Gift of Eric Gugler
n.d.
1969.69
<strong>MANSHIP</strong>, Paul
<em>Angel with Wreath</em>
plaster relief
33 1/4 x 41 x 5 in.
<strong>MANSHIP</strong>, Paul
American, 1885 - 1966
Gift of Eric Gugler
n.d
1969.68
<strong>MADSEN</strong>, Loren
<em>Bookstrap #1</em>
1976
concrete, wire, wood
49 x 7 x 166 1/2 in.
wood plank, 10 cement blocks, wire cable.
<strong>MADSEN</strong>, Loren
b. United States, 1943
Gift of Robert H. Halff
1976
1985.6.a-k
<strong>MACH</strong>, David
<em>African Match Head</em>
1994-95
matches
overall: 9 x 6 1/2 x 6 in.
<strong>MACH</strong>, David
Scottish, b. 1956
1994-1995
1999.97
<strong>LUASER</strong>, Ernst
<em>The United Nations Peace Medal</em>
1972
silver and lucite
medal: 1 5/8" diameter; lucite: 3 5/8" x 3" x 1/4"
in lucite on base
<strong>LUASER</strong>, Ernst
American
1972
1983.22
<strong>LOWRY</strong>, Janice
<em>Cigar box: Bolivar</em>
Mixed media on photographs
8 1/4 x 9 3/4 x 2 1/2" BOX, 6 1/2 x 4 1/4" CARDS
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2003-2005
2021.006.038a-s
<strong>LOWRY</strong>, Janice
<em>Cabinet Card Series: Chesley</em>
Collage
11 1/4 x 9 1/4" FRAMED
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2003
2021.006.037
<strong>LOWRY</strong>, Janice
<em>Cabinet Card Series: Fly</em>
Collage
11 1/4 x 9 1/4" FRAMED
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2003
2021.006.036
<strong>LOWRY</strong>, Janice
<em>Cabinet Card Series: When</em>
Collage
11 1/4 x 9 1/4" FRAMED
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2003
2021.006.035
<strong>LOWRY</strong>, Janice
<em>Constellation Series: "December"</em>
Collage
12 x 8 3/4" UNFRAMED
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.034
<strong>LOWRY</strong>, Janice
<em>Constellation Series: Pisa with wings</em>
Collage
12 x 8 3/4" UNFRAMED
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.032
<strong>LOWRY</strong>, Janice
<em>Constellation Series: "Southern Constellation"</em>
Collage
12 x 9" UNFRAMED
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.
<strong>LOWRY,</strong> Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.031
<strong>LOWRY</strong>, Janice
<em>Flora and Fauna Illustration Series: Red Shapes</em>
Collage
16 1/4 x 10 1/4" UNFRAMED
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.030
<strong>LOWRY</strong>, Janice
<em>Flora and Fauna Illustration Series: Grasshoppers and Beetles</em>
Collage
16 x 10 1/4" UNFRAMED
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.
<strong>LOWRY,</strong> Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.029
<strong>LOWRY</strong>, Janice
<em>Flora and Fauna Illustration Series: Shells</em>
Collage
15 3/4 x 9 3/4" UNFRAMED
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.
<strong>LOWRY,</strong> Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.028
<strong>LOWRY</strong>, Janice
<em>Flora and Fauna Illustration Series: Winged Insects</em>
Collage
16 3/4 x 10 1/2" UNFRAMED
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.
<strong>LOWRY</strong>, Janice
b. United States, 1946-2009
Gift of John Gothold and the Kohler Foundation, Inc.
2004
2021.006.027