Untitled, 2025 Archival inkjet print
Centralized image of Lorenza Perez and Juan Perez Munoz standing on the grass with the UCSB lagoon as backdrop. The subjects are enclosed by foliage with the woman placing her left hand on the man's shoulder as he stands with his arms at his sides.The woman is dressed in a long, dark, floral dress and black shoes while the man wears a blue dress shirt, dark jeans, and brown shoes.
Christopher Juarez Alvarado and Aaliyah Janette Quinonez stand against the UCSB lagoon backdrop enclosed by foliage Both are dressed in white, with the male subject wearing a white button up shirt, black slacks, and black sneakers while the female subject wears a long white skirt and blouse with red sneakers.
The Boxing Portfolio, 1989 to 1996, Tyson-Ruddock Fight, Las Vega, NV, March 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. 55 Robed lone boxer stands at center of image surrounded by various firgures. Signed, date, with AP and title on reverse.
Fink, Larry b. United States, 1941-2023
The Yanover Family Trust in memory of Pauline Milrad
The Boxing Portfolio, 1989 - 1996, Blue Horizon, Philadelphia, PA, March 1989
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. American boxer in robe standing about to enter the ring. Signed, dated, titled with AP on reverse.
The Boxing Portfolio, 1989 - 1996, Champs Gym, Philadelphia, PA, January 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image includes a lone boxer huddling into himself against the ring; his hands are wrapped in Ace bandages.
FINK, LARRY b. United States, 1941-2023
The Boxing Portfolio, 1989 to 1996, Champs Gym, Philadelphia, PA, February 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image of lone boxer hitting a punching bag at Champs Gym in Philiadelphia.
FINK, Larry b. United States, 1941-2023
The Boxing Portfolio, 1989 to 1996, State Theater, Easton, PA, February 1994
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; image includes a figure standing with back towards the audience leaning into a boxing ring cropped on right side.
The Boxing Portfolio, 1989 - 1996, Champs Gym, Philadelphia, PA February 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image includes an elderly male standing on the right leaning against a boxing ring which is positioned at the center; his back is turned towards viewer. Identified as Champs Gym in Philadelphia; signed, dated, with AP on reverse with title.
The Boxing Portfolio, 1989 to1996, Blue Horizon, Philadelphia, PA January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Image includes an older man probably a coach touching a younger African American boxer on the chest; signed, dated, titled wtih AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1990
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. it closed its doors in 2010 due to financial hardships.Elderly male figure postioned at center with a man in a Tony Dynamite Green shirt at left.
The Boxing Portfolio, 1989 - 1996, Larry Holmes Gym, Easton, PA, January 1992
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image of Larry Holmes in his private gym in Easton, PA, January 1992.
The Boxing Portfolio, 1989 to 1996, Philadelphia, PA, January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However it closed its doors in 2010 due to financial hardships.This images includes an overhead image of a boxing ring with a "ring girl" holding a Round 8 sign. Signed, dated, AP with titled, written on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1992
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However it closed its doors in 2010 due to financial hardships. This image details an actual boxing match between two participants.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1989
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. This image includes a referee standing in the ring leaning on the ring ropes. Signed, dated, titled with AP on reverse.
The Boxing Portfolio, 1989 to 1996, Ring Girls, Madison Square Garden, NY, May 1996
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; image includes the legs of a "ring girl", an attractive young woman hired to enter the ring between rounds carrying a sign displaying the number of the next round. Ring girls are often seen in boxing, kickboxing and mixed martial arts. Signed, dated, with title and AP on reverse.
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Photographed at the State Theater in Easton, PA, a boxer stands in the corner of a ring looking inward. Signed, dated with title and AP on reverse.
The Boxing Portfolio, 1989 to 1996, Silky Smooth, Blue Horiazon, Philadelphia, PA, January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Image includes an African Amercan portrait identified as Silky Smooth; Signed, dated with title, AP on reverse
The Boxing Portfolio, 1989 to 1996, Champs Gym, Philadelphia, PA, January 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image taken at Champs Gym and details the calves of a boxer. Signed, dated, titled with AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. An unidentified boxer stands at center wearing a short robe; he is wearing gloves and are placed on the shoulders of a figure facing him. Signed, dated with title and AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, October 1994
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996, in this image. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Image details a lone boxer standing at the center wearing a sleevless hoodie flanked by various figures. Dated with title and AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; Located in Philadelphia, many of Fink's images are taken at the Blue Horizon purported to be the largest and best areana by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships; African American boxer standing and wearing gloves facing right.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadlephia, PA, November 1996
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships; this images includes a boxer stepping thru boxing ring ropes; a man is standing to his right wearing a jacket with 91. Signed, dated, title with AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizaon, Philadelphia, PA, October 1994
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. This black and white image details a view of a boxer looking out over the ring ropes; signed, dated, title with AP on reverse.
The Boxing Portfolio, 1989 to1996, Blue Horizon, Philadelphia, PA, July 1
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Illustrated is an image of a boxer with a punching bag; his back is turned towards viewer. Signed, dated with title and AP written on reverse.
The Boxing Portfolio, 1989 to1996, Blue Horizon, Philadelphia, PA, October 1992
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. In this image, Fink has captured a lone boxer wearing a robe with the words AWESOME. Written on reverse of print is the title, date, signature and AP.
Voynich bontanical Studies, Specimen 20v, 2012
Gelatin silver print of a flowering plant; its roots are detailed at lower half of print; housed in a white mat and frame. On reverse is a gallery label.
Gift from Thomas Solomon and Kimberly Mascola
Solarized gelatin silver print on fiber paper, 7/8
Mona Kuhn has used the method of solarization to create the ethereal intersection of two female figures; this effect, created by exposing a partially developed print (or film) to a brief flash of light, has resulted in the tones of the image changing and the intermingling with one another. Signed and dated on reverse with edition and copyright notification.
Gift of Betsy & Charles Newman by the Charles A. Newman Trust
Large framed ink and acrylic drawing superimposed on a cibachrome photograph. Drawing includes a face-like form with limbs extending thoughout lower half superimposed on a photograph of a brick building visible at upper right.
Vanity Fair's Oscar Party, February 2005, Los Angeles, 2005
Gelatin silver print of a table with an Oscar statue; clothed figures are standing at upper right; signed on reverse.
Vanity Fair's Oscar Party, March 2003, Los Angeles
Gelatin silver print of a table with drinking glasses and books while hands and arms of diners are visible, signed on reverse.
Vanity Fair's Oscar Party, March 2001, Los Angeles, 2001
Gelatin silver print of Warren Beatty dressed in a tuxedo seated at a table; signed on the reverse.
Vanity Fair's Oscar Party, March 2002, Los Angeles, 2002
Gelatin silver print of Anjelica Houston seated at a table while a male figure is partially standing to her right engaging in conversation with a figure at left; signed on reverse.
Vanity Fair's Oscar Party, February 2000, Los Angeles, 2000
Gelatin silver print of a centralized male figure looking forward while a second figure is grabbing his shoulders; signed on the reverse.
Gelatin silver print of a server positioned between two formally dressed individuals positioned at left and right; signed on the reverse.
Gelatin silver print of two women talking at a party; centralized figure is wearing a low cut cocktail dress; signed on the reverse.
Runway: Two women dining at fancy restaurant
This gelatin silver print is from the portfolio Runway produced by Larry Fink to detail the grit and edginess of of the New York fashion scene illustrated in magazines during the 1990s.
Runway: George Plimpton, Jared Paul Stern, Cameron Richardson and Devotees at Elaine's New York, January 1999
This gelatin silver print is from the portfolio Runway produced by Larry Fink to detail the grit and edginess of the New York fashion scene illustrated in magazines during the 1990s.
FINK, Larry, b. United States, b. 1941-2023
Self-Portrait with Half Beard, 1943
Framed gelatin silver print of Man Ray; self-image captures the artist with one half of his face cleanly shaven while the other remains adorned with a beard.
Runway: Male figure in formal dress lying on car hood
36 x 36" SHEET Gelatin silver print of a male figure sprawled out on the hood of a car; he is wearing a tux with an untied bow. Signed on the reverse
Runway: Male seated at formal dinner
36 X 36" SHEET Gelatin silver print of a man wearing formal dress seated at a dinner table; his face is partially obscured by a chandelier.
Runway: Woman seated at a diner with a cigarette in her right hand
36 X 36" SHEET Gelatin silver print of a woman seated in a diner smoking a cigarette; a male figure is standing at her left and appears to be moving out of the space.
Runway: Woman being fitted in a crowded dressing room
36 X 36" SHEET Gelatin silver print of a woman being fitted in a crowded dressing room; her arm is raised in a salute-like gesture towards the upper left. Signed on reverse.
Runway: Woman seated at a dining table looking over her right shoulder
36 X 36" Gelatin silver print of a woman, seated, looking over her right shoulder. She is holding the left wrist of a male figure whose image is mostly obscured from view Signed on the reverse.
Runway: Woman holding a glass with seated male wearing a tux
36 x 36" SHEET Gelatin silver print of a woman leaning on a table looking left with a wineglass in her right hand; centralized image of a male in a white tuxedo smiling while gazing towards the right. Signed on the reverse.
Large chromogenic print of a Swiss landscape; a stream flows at lower foreground of image set against a Winter background of a mottled field of grass with cut logs, barren trees and grey sky.
Runway: Woman wearing a gown secured with a multiple button closure
Gelatin silver print of a centralized image of a female figure's back detailing a multiple button closure on her gown. Signed on reverse.
Given in Loving Memory of Pauline Milrad
Runway: Fashion show dressing room
Gelatin silver print of a fashion show dressing room; various figures moving around in different stages of dress. Signed on reverse.
Runway: Woman walking on a street, wearing pearls and an animal print coat
Gelatin silver print of a centralized female figure walking down a crowded steet wearing pearls and animal print coat; figure looks towards the left; signed on reverse.
Runway: Woman wearing a ball gown
Gelatin silver print of a centralized female figure being fitted into a gown while various figures make adjustments; signed on the reverse.
Veronika Kellndorfer is concerned with the physical and social construction of urban space and how she personally experiences it. She originally chose the medium of painting to express these themes but later switched to photography subsequently transforming her photographs into silk-screen prints on man-sized, reflective glass panels. This method of display offers the viewer different ways of experiencing the area photographed, as well as the location where the work is presented and their mutual interaction. In this work, the artist has photographed the Samuel Freeman House, designed by American architect Frank Lloyd Wright. Eighty years after construction Kellndorfer secures photographs of the living room of this former residence documenting the urban landscape of roadways and palm trees. (a) right panel, 43 1/4 x 28 1/4 x 14"; (b) left panel, 43 1/4 x 36 3/4 x 1/4"
Constellation Series: Parliamentary Building
Lowry collages an image of a young girl from the late 19th Century, her head replaced by a large Parliamentary Building, extending out broadly on either side of her shoulders on top of a blue map of the constellations of April. She stands on a map of the Caspian Sea. At the bottom of the collage are various insects, fish, and reptiles each shown on their own banner. Signed and dated on the bottom right.
Gift of John Gothold and the Kohler Foundation, Inc.
Runway: Make-up application to a model
Runway: Woman wearing lace dress
Metal-Mixed Tincans, Foil, Jarlids, Flatten
Type C Print Image of bins of cans placed beneath sign that reads "METAL-MIXED TIN CANS, FOIL JARLIDS FLATTEN." Signed on mat beneath image.
In loving memory of my mother, Marion Post Wolcott in recognition of her work and love for the Isla Vista community.
Door of Whale War Jeep, Mendocino, CA, '77
Cibographic print of a teal colored car door with a centralized graphic of a whale tail in red water with words STOP and "Mendocino Whale War". Signed and dated on the reverse.
Young male at gathering with small child sitting on figure's shoulders
Image includes a centralized male figure holding a metal pot with a child perched on his shoulders; multiple figures look on; signed on mat below the print.
Grafitti on side of student's pick up truck, Ft. Bragg, 1978
Enlarged image of the numbers 78 in silver on a rusty, damaged car surface. Signed and dated on the reverse.
Type C print of a red sign reading "Sip Our Suds Beer" with gold detailing positioned atop a metal barrel; signed on mat below the photograph.
Image of two men in wetsuits walk on the beach, holding surfboards. Signed on mat below print.
Image of clear, plastic bags leaning on each other, each filled with soda and beer cans. Signed on mat below the image.
Gathering of young men in Isla Vista playing music
Image of a group of men playing music; central figure is shirtless while playing the flute; male at right plays guitar and appears to sing; signed below photograph on mat.
Type C print of six crates of plastic milk bottles are stacked in two columns of three. Signed and dated on the reverse.
Image of a poster advertising a commemoration for the Isla Vista bank burning; other smaller posters tacked underneath. Signed beneath photograph on mat.
Beer + soft drink cans in Recycling Center, Isla Vista, Calif, 1976
Beer and soft drink cans piled together in a tied, clear plastic bag. Signed and dated on reverse/
Image of a woman in a swimsuit reclining in chair with her legs propped up; she holds an open book. Signed on the reverse.
Trader, Van Damme Beach, Calif.
Cibachrome image of a man leaning on side of truck with one hand on his hip and a beer in the other; gas tank next to additional beers are positioned to the right of the man.
Graffiti on side of building, Mendocino, CA, 1977
Cibachrome print of black and red graffiti on the side of building that reads, "DO IT IN YOUR OWN BACKYARD." Signed and dated on reverse.
Doug's Bugs, Volkswagen Service Station, Isla Vista, CA, 1975
Image of two Volkswagens parked in front of a mural that reads "Doug's Bugs," with imagery of flowers and a bug's anatomy. Signed and dated on reverse.
Sweet Potato Cafe, Isla Vista, CA
Type C Print of Sweet Potato Cafe's windows, painted with images of trees, suns, and butterflies; curtains visible behind windows. Signed on reverse.
Soft drink + beer cans behind fence, Recycling Center, Isla Vista, CA. 1976
Cibachrome print of a medley of cans and foil items behind fence; can shaped sign in front reads "Metal-Mixed Tin Cans, Foil Jarlids Flatten/Aluminum Cans Are Behind You!" Signed and dated on the reverse.
Image of two banners taped on top of a mural; top banner reads "Keep Isla Vista Free! Vote NO on Anexation"; bottom banner advertises for "Bank Burning Comemoration" to happen that night, bench sits underneath banners. Signed on the reverse.
Entrance to Ecology Action Center, black recycling barrels, Isla Vista, 1975
Type C image of black, labeled recycling bins grouped underneath Ecology Action sign; single white bin with smiling cartoon face stands between the black bins; glass drop-off area labeled on the left behind bins. Signed and dated on the reverse.
"VOTE" billboard, San Francisco, CA, 1978
Cibachrome print of a green car parked on street in front of a Chinese American Voters Education Committee billboard reading, "Make City Hall Respond, VOTE." Signed and dated on the reverse.
Trader's pick up truck, Van Damme Beach, Calif.
Cibachrome print of a tank of gas sits between beer cans atop ledge on the side of a blue truck. Signed on reverse.
"Uncle Sam," painting on side of building by Recycling Center
Image of recycling and trash bins with signs in front of yellow and brown mural of face with long, curly hair, a star on the forehead, and a cigarette with American flag detail between the lips. Signed on the reverse.
Display at Street Fair, T-shirts, Isla Vista, Calif. 1974
Type C print of tank tops with multi-colored graphics hanging on a drying rack; t-shirts hang on opposite side; one person stands on each side of the rack, visible only by their legs; signed and dated on reverse.
Cans at Recycling Center, Isla Vista, CA, '73
Image of a medley of cans and foil items piled behind fence; can shaped sign in front reads "Metal-Mixed Tin Cans, Foil Jarlids Flatten/Aluminum Cans Are Behind You!" Signed and dated on the back of the reverse.
Stacks of newspapers in Recycling Center, Isla Vista, CA. 1976
Type C print of stacks of newspapers held together by straps; central paper advertises car sales. Signed and dated on the reverse.
Cibachrome print of a red, sandy wetsuits hanging over wood fecing in the bed of a brown, striped truck. Signed on reverse.
Acetylene tanks behind fence, Oakland, Calif.
Image of a group of acetylene tanks near a construction sign behind fence; long shadows appear; signed and dated on reverse.
Political banner, Isla Vista, CA, 1974
Type C Print with a hand painted banner encouraging Isla Vista locals to vote for Omer Rains-Gary Hart, taped onto large box on the sidewalk. A girl stands on left with hand in motion; car windshield in lower left corner. Signed and dated on reverse.
Newspaper on side of building, Isla Vista, Calif. 1975
Image of a newspaper clip tacked onto wood; article entitled "Pets Are Messing Up the Economy," arguing against the inescapable expenses of domestic animals in the United States. Detailed line illustration embedded in text of a large scale dog urinating on the Capitol Building, small scale man stands below with cleaning materials. Signed and dated on the back of the photograph.
Untitled (Woman with Chanel Compact) from Runway Portfolio
Gelatin silver print of a female holding up a Chanel compact standing in front of a curtain.
Fragment from the World Trade Center entryway, September 11, 2001
Marble fragment from the World Trade Center entryway, September 11, 2001 which was donated to the museum by Mikey Flowers. Working in conjunction with Kevin Clarke who has been creating “interpretive portraits,” since 1987, Clarke and Flowers completed DNA to Dust spontaneously photographing many scenes of the devastation.
Flowers, Mikey and Kevin Clarke
Dust to DNA: Recovery Specialiest Sheila Estacio
Digital inkjet print on mount with Plexiglas
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse, lower right title and artists' signature.
Dust to DNA: Firefighter Craig Carlsen
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse at lower right, title and maker identification.
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures.Reverse at lower right, title and maker names.
Dust to DNA: DNA Recovery Specialist Bianca Nazzaruolo 9/11
Dust to DNA: Detective Lt. Roger Perrino
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse lower right, title and artist's signature.
Dust to DNA: Brian Gestring, NYC Chief Medical Examiner's Office, DNA Recovery 9/11
Digital inkjet print on mount with Plexiglas 29 1/4 x 39 1/4" OVERALL
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse at lower right, title and artist's signature.
Inkjet print which was one of fifteen works commissioned and used in the museum's exhibition Catherine Opie Photographs Cliff May. This exhibition augmented Carefree California and includes extant homes designed by Cliff May; this image details an enclosed painted gray wooden porch with two children.
WOOD, John and HARRISON, Paul
Time and Time Again from the Series, "Some Words, Some More Words"
Gray and white digital print with title printed in white block letters at top-center area
British, b. 1969 (Wood) ; b. 1966 (Harrison)
Pretending To Care About Things from the Series, "Some Words, Some More Words"
Trying Not To Give It Away from the Series, "Some Words, Some More Words"
You Can Never Tell Anyone Anything from the Series, "Some Words, Some More Words"
Rational and Irrational Numbers from the Series, "Some Words, Some More Words"
Average Contents from the Series, "Some Words, Some More Words"
Good Idea Bad Idea No Idea from the Series, "Some Words, Some More Words"
Pointing Out Things You Already Know from the Series, "Some Words, Some More Words"