Front Door, Hopetown (Dorps Series) ca. 1983; reprinted 2016
Image was initially illustrated in the photographer's publication, 1986, and reprinted in 2011, where he developed a unique vision toward little-known corners and artifacts, trading stores, old houses, and humble people within South Africa's scattered towns and villages. This black and white photo includes a front door and window of a house; on reverse signed, dated with edition 3/5.
Woman, Man and Dog (Outland Series) ca. 1995; reprinted 2016
Image was initially illustrated in the photographer's publication Outland, 2001, and republished in an expanded edition, 2015. In this publication Ballen documents the small 'dorps' or villages of rural South Africa and their inhabitants: isolated rural whites, scarred by history. This black and white photo captures the back a man holding a dog while a woman looks on; on reverse signed, dated with edition 3/5.
Security Guard and Girlfriend (Outland Series) ca. 1997; reprinted 2016
Image was initially illustrated in the photographer's publication Outland, 2001, and republished in an expanded edition, 2015. In this publication Ballen documents the small 'dorps' or villages of rural South Africa and their inhabitants: isolated rural whites, scarred by history. This black and white photo includes a man standing on a bed holding a bat and a woman sitting on the edge of the bed; on reverse signed, dated with edition 3/5.
Man Holding Cat (Outland Series) ca. 1995; reprinted 2016
Image was initially illustrated in the photographer's publication Outland, 2001, and republished in an expanded edition, 2015. In this publication Ballen documents the small 'dorps' or villages of rural South Africa and their inhabitants: isolated rural whites, scarred by history. This black and white photo includes a man holding a cat; on reverse signed, dated with edition 3/5.
John and Roommates (Outland Series) ca. 1998; reprinted 2016
Image was initially illustrated in the photographer's publication Outland, 2001, and republished in an expanded edition, 2015. In this publication Ballen documents the small 'dorps' or villages of rural South Africa and their inhabitants: isolated rural whites, scarred by history. Black and photo details a man wearing a coat standing between two men wrapped in blankets; the man on the right faces the wall with his left hand lifted and the man on the right faces foawrd; on revers signed, dated with edition 3/5.
Head Below Wires (Outland Series) ca. 1998; reprinted 2016
Image was initially illustrated in the photographer's publication Outland, 2001, and republished in an expanded edition, 2015. In this publication Ballen documents the small 'dorps' or villages of rural South Africa and their inhabitants: isolated rural whites, scarred by history. This black and white photo captures wires hanging on a wall with a man resting his chin on the back of a sofa; on reverse signed and dated with edition 3/5.
Adolescent in Bedroom (Outland Series) ca. 1998; reprinted 2016
Image was initially illustrated in the photographer's publication Outland, 2001, and republished in an expanded edition, 2015. In this publication Ballen documents the small 'dorps' or villages of rural South Africa and their inhabitants: isolated rural whites, scarred by history. This black and white photo is of a young boy holding a toy race car against a wall filled with doodles; on reverse signed, dated with edition 3/5.
Boetie Nel, Grape Farmer, Northern Cape (Platteland Series) ca. 1990; reprinted 2016
Image was initially illustrated in the photographer's Platteland, 1994, which was born of the profound irony that despite the political privilege apartheid had bestowed on whites, in the physical heart of the land there is inescapable testimony to the failure of the regime even to secure the well-being of the privileged minority. Black and white photo of a man standing outside with a cane; on reverse signed, dated with edition 3/5.
Man and Maid, Northern Cape 1991 (Platteland Series) ca. 1991; reprinted 2016
Image was initially illustrated in the photographer's Platteland, 1994, which detailed the irony that despite political privilege apartheid had bestowed on whites, there is failure of the regime even to secure the well-being of the privileged minority. This black and white photo includes a woman sitting on a sofa next to a man leaning on a short pole holding a cigarette; on reverse signed and dated with edition 3/5.
Prospectors Inside House, Western Transvaal (Platteland Series) ca. 1987; reprinted 2016
Image was initially illustrated in the photographer's Platteland, 1994, which detailed the irony that despite political privilege apartheid had bestowed on whites, there is failure of the regime even to secure the well-being of the privileged minority. This black and white photo includes a young boy positioned on the left standing between a hanging robe and gun. On the right sits an older man between empty card board boxes and brooms. On reverse signed and dated with edition 3/5.
Mrs PR Streicher, Eastern Transvaal (Platteland Series) ca. 1993; reprinted 2016
Image was initially illustrated in the photographer's Platteland, 1994, which detailed the irony that despite political privilege apartheid had bestowed on whites, there is failure of the regime even to secure the well-being of the privileged minority. This black and white image captures a womans portrait with short wavy hair; on reverse signed, dated with edition 3/5.
Man Shaving on Verandah, Western Transvaal (Platteland Series) ca. 1986; reprinted 2016
Image was initially illustrated in the photographer's Platteland, 1994, which detailed the irony that despite political privilege apartheid had bestowed on whites, there is failure of the regime even to secure the well-being of the privileged minority. This includes a black and white photo of a man squatting and shaving in a verandah entryway; on reverse signed, dated with edition 3/5.
Boy with Guns, Western Transvaal (Platteland Series) ca. 1993; reprinted 2016
Image was initially illustrated in the photographer's Platteland, 1994, which detailed the irony that despite political privilege apartheid had bestowed on whites, there is failure of the regime even to secure the well-being of the privileged minority. This includes a black and white photo of a young boy standing on top of a table holding two guns with two landscape paintings hanging on the wall behind him; on reverse signed and dated with edition 2/4.
Birdwoman (Shadow Chamber Series) ca. 2003; reprinted 2003
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. Black and white photo of a male wearing a long black coat which covers figure's head; the figure's eyes and the head of a bird show through the hood. At right is a wire hanger scultpure on the wall; on reverse signed, dated with edition 2/4.
Wall Shadows (Shadow Chamber Series)
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo includes a man laying on the floor with a bird covering his head positioned in front of a wet wall filled with drawn figures and faces; on reverse signed and dated with edition 2/4.
The End of the World (Shadow Chamber Series)
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo captures a wall with a model of a man's head, a baby head, and the backside of a rat placed in the holes; a baby doll and cat on the ground; on reverse signed, dated with edition 2/4.
Puppy on Table (Shadow Chamber Series) ca. 2000; reprinted 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo captures a puppy standing on a table in front of a wall with two drawn cartoon faces; on reverse signed, dated with edition 2/4.
Ratman (Shadow Chamber Series) ca. 2000; reprinted 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo details a man holding a rat with one hand; on reverse signed, dated with edition 2/4.
Loner (Shadow Chamber Series) ca. 2001; reprinted 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo includes a dog resting on the back of a man sleeping underneath a baby doll strung onto a cross placed on the wall; on reverse signed, dated with edition 2/4.
Hungry Dog (Shadow Chamber Series) ca. 2003; reprinted 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo includes a dog on his belly biting on a toy; on reverse signed, dated with edition 2/4.
Hanging Pig (Shadow Chamber Series) ca. 2001; reprinted 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo details a pig hanging from a rope in foreground aligned with man's bare feet dangling above; on reverse signed and dated with edition 2/4.
Crawling Man (Shadow Chamber Series) ca. 2002; reprinted 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo captures a man crawling through a thin metal structure; on reverse signed, dated with edition 2/4.
School Room (Shadow Chamber Series) ca. 2003; reprinted 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabitating "mysterious" rooms. This black and white photo includes a goat facing a chalkboard with a drawn chalk goat. Plastic toy train tracks and small toy cars are placed in the lower foreground. On reverse signed and dated with edition 2/4.
Bent Back (Shadow Chamber Seca. 2001; reprintedries) 2016
Image was initially illustrated in the photographer's publication Shadow Chamber, 2005, where Ballen focuses on the interactions between the people, animals and objects inhabiting "mysterious" rooms. This black and white photo details a man bent over grabbing a potted plant; on reverse signed, dated with edition 2/4.
Bus Station, St Louis 1969
Black and white photo of two men sitting in chairs with attatched televisions flanking a doorway; on reverse signed, dated with edition 3/5.
Black and white photo of a white dead cat laying on its side with its mouth open in foreground, and blurred car driving north in background; on reverse signed, dated with edition 3/5.
Decapitated, Ethiopia 1974
Black and white photo of a dirt ground; circular rock in the lower right corner of foreground. A man standing with his legs crossed and head cut out of photo in upper background; on reverse signed, dated with edition 3/5.
Black and white photo of a sculpture rooster positioned on window sill; on reverse, dated with edition 3/5.
Reversal, Kenya 1974
Black and white photo of a shadow of a man standing on a platform casted onto sand; on reverse signed, dated with edition 3/5.
Black and white photo of a leg bent at the knee on the right bottom corner stretching out to the middle of the photo on the grass in the shade with a man laying out in the background next to a brick wall; on reverse signed, dated with edition 3/5.
Black and white photo of a man walking, towards the left in front of a looped wall painting; on reverse signed, dated with edition 3/5.
Color photograph of a white garage with red trim; Kodak stamped on reverse.
In Honor of John Mike, Marcia, and Elyse Gonzales
Sola/Wright House, Los Angeles, CA 2017
Digital image framed in black of the Sola/Wright house designed by Escher GuneWardena Architecture.
Gift of Alex Slade and Edward Cella Art & Architecture
House on Six Legs (Jones Residence), Los Angeles, CA 2017
Digital image framed in black of house designed by Escher GuneWardena Architecture; image includes the Jones residence and is referred to as House on Six Legs.
House on Two Towers, Pasadena, CA (east view), 2016
Digital image framed in black of house designed by Escher GuneWardena Architecture; refered to as House on Two Towers.
House of Seven Screens, Glendale, CA
Digital image framed in black of a house designed by Escher GuneWardena Architecture refered to as House of Seven Screens.
Mardi Gras Indian in Treme Neighborhood, Mardi Gras Day, New Orleans, LA 2006, reprinted 2017
Color archival pigment print of an American Indian.
Museum purchase & gift of the artist
Cowgirls, Mardi Gras Day, New Orleans, LA 1991, reprinted 2017
Traveling to Louisiana, Nell Campbell is a documentary photographer who photographed Mardi Gras celebrations in New Orleans from 1980 through 1990. Her Street Photos series captures the LGBT community wearing masks and costumes to represent Louisiana culture during these festivities, also known as Fat Tuesday. Coming on the eve of Ash Wednesday, Fat Tuesday is celebrated by eating favorite foods and snacks before giving them up for Lent. Begun in 1781 by Lousianas first governor, Marquis de Vaudriel, Madri Gras began as a societal ball but eventually evolved into a more expansive celebration. Attendees moved into more decorative dress wearing costumes and masks of fairies, animals and mythical creatures while horseback riders decked out in Medieval attire paraded through the streets of New Orleans. Campbells images were acquired in 2017 by the museum and are digital photos printed on photo base papers.
Man with a Hoe, Pinar del Rio, Cuba 2000, reprinted 2017
Color archival pigment print of man standing in a field with mountains in the distance.
Farmer, Vinales, Cuba 2000, reprinted 2017
Color archival pigment print of man standing in doorway with two dogs
Gladys on Palm Sunday, Cerro Neighborhood, Havana, Cuba 2005, reprinted 2017
Color archival pigment print of woman holding a crucifx in Havana, Cuba
Women's March, Los Angeles, CA 2017
Archival pigment print of man holding protest sign which reads "FIGHT LIKE A GIRL!," at 2017 Los Angeles Women's March
Lashea Brown and Stephanie Feld, Black Women for Wellness, Women's March Los Angeles, CA 2017
Color archival pigment print of two women holding protest signs during 2017 Women's March in Los Angeles, CA
Zulu Parade Krewe Member, Mardi Gras Day, New Orleans, LA 2006, reprinted 2017
Drag Queens on Cabildo Steps, Mardi Gras Day, New Orleans, LA 1985, reprinted 2017
Miss River Bridge on Royal Street, Mardi Gras Day, New Orleans, LA 1985, reprinted 2017
Leonard Knight at Salvation Mountain, Niland, CA 1996, reprinted 2017
Color archival pigment print of man on bicycle in front of folk art site, Salvation Mountain
Ero Chica Bamboo, Miss Exotic World, Helendale, CA 2003, reprinted 2017
Color archival pigment print of burlesque performer
Geisha Girls, Mardi Gras Day, New Orleans, LA 1982, reprinted 2017
Guardian Angels Welcome Home Desert Storm Parade, Hollywood, CA 1991, reprinted 2017
Color archival pigment print of four men wearing red berets and holding "welcome" sign for soldiers who served in Desert Storm
David Duke Rally, Jennings, LA 1991, reprinted 2017
Color archival pigment print of rallly attendees holding "Duke Governor" signs
Little Joe in front of Texas Lunch on Lower State St. Santa Barbara, CA 1974, reprinted 2017
Color archival pigment print of a man wearing a hat in front of a restaurant window
UFW Supporter (United Farm Workers) Rally near Tejon Ranch, CA 1977, reprinted 2017
Color archival pigment print of man in standing in front of car with protest sign
Exotic World, Helendale, CA 2003, reprinted 2017
Black and white archival pigment print of burlesque performer
Leather Booth, Los Angeles Gay Pride, Los Angeles, CA 1991, reprinted 2017
Black and white archival pigment print of four men at gay pride parade
Aunt Elsie, Biloxi, Mississippi 1972, reprinted 2017
Black and white archival pigment print of the artist's aunt standing in front of a car
Luevenia Morrow on her front steps, Lake Charles, LA ca. 1973, reprinted 2017
Black and white archival pigment print of woman on front steps in Louisiana
Walter, Helen, and Heard Campbell on their porch, Morganza, LA 1969, reprinted 2017
Black and white archival pigment print of the artist's family
Judge of Nutria Skinning Contest at Cameron Fur and Wildlife Festival, Cameron, LA ca. 1975, reprinted 2017
Black and archival pigment print; portrait of a Louisiana man wearing fur cap
Duck Hunters, White Oak Park, Lake Charles, LA 2011, reprinted 2017
Large archival pigment reprint of duck hunters in Louisiana
Museum purchase with funds provided by the Joe Melchione Photography Acqusition Fund, Joan Davidson and John Schnittker
Untitled, from Photos In and Out City Limits: Los Angeles, 11-81-T-36A #1
Gelatin silver print depicting an urban, non-figural scene in black and white from the series, "Photos In and Out City Limits: Los Angeles". On the back reads 11-81-T-36A #1.
DISFARMER, Mike (Meyer)
Graduating Female ca. 1920-30
Black and white photograph of a graduating female dressed in robe and holding diploma. Stamped on reverse THE MEYER STUDIO HEBER SPRINGS ARK., WITH 053692.
Mary & Will Higgs ca. 1920-30
Black and white photograph of an elderly couple standing in a backyard; decorative border of black and white diamond pattern. Written underneath image is: Mary & Will Higgs.
Dalton with Jude and Kit ca. 1920-30
Small black and white photograph of a two mules attached to a harness being pulled by a farmer. Image has a decorative border of black and white diamond pattern. Written on reverse: JUDE & KIT, & DALTON
Untitled (Couple with two children outside) ca. 1920-30
Small black and white photograph of a family positioned at lower half of image with sky and trees along the horizon; father is wearing a hat; mother is holding a small child; deocorative border of black and white diamond pattern.
Untitled (Boy with fedora) ca. 1920-30
Small black and white photograph of a young male standing outside and wearing a hat. He is dressed warmly and it appears to be winter as evidenced by barren trees. Image has a decorative border of black and white diamond pattern.
Untitled (Couple dressed in white outside) ca. 1920-30
Small black and white photograph of a male and female dressed in white standing on a lawn; image has a decorative border of black and white diamond pattern. THE MEYER STUDIO HEBER SPRINGS., ARK. is stamped on the reverse with 083657
Untitled (Woman with baby in front of a house) ca. 1920-30
Small black and white photograph of a woman holding a child standing in front of a house. Stamped on reverse THE DISFARMER STUDIO HEBER SRPINGS., ARK.
Untitled (Man with boy by car) ca. 1920-30
Small black and white photograph of a man holding a child while squatting in front of a car. Stamped on reverse THE DISFARMER STUDIO HEBER SRPINGS., ARK.
Young Girl in Doorway, ca 1960-1970s
Black and white image on board; young girl standing in doorway leaning while supporting herself with left hand; left foot is forward. Stamped signature on lower right reverse.
Given in honor of the College of Creative Studies, UC Santa Barbara
Heavyset Elderly Female on Beach, ca. 1960-70's
Black and white image of a heavyset female standing on a beach; she is wearing glasses and a hat, posing with her hands behind her head.
Fannie Waltzer (wood carver), 1979
Black and white image on board; elderly woman seated at center flanked in the background with carved objects. On reverse, FANNIE WLATZER: 79 wood carver, AGING Project, stamped signature HARRY LAPOW.
Harry Lapow, was a successful packaging designer who amassed a significant archive of street photographs taken mostly in New York City, but also internationally. Camera in hand, Lapow would walk the streets capturing individuals as they went about their day. While Lapow loved to photograph the people he encountered, he was also adept at capturing unique, telling moments. In New York Window, Lapow photographed a man striding past a female mannequin in a shop window. Her eyes seem to follow the anonymous passerby making the photograph a meditation on the act of looking itself. Lapow seems to suggest a self-aware acknowledgment of the voyeurism inherent to street photography; signed with stamped signature, reverse, lower left.
Washington Square Park, ca. 1960s
signed with printed signature and title, reverse, lower right
Black and white image of females lounging on beach with only their legs visible. Signed with printed signature and date 1979 on reverse, lower right.
Washington Square Park, ca. 1969
Black and white image of an older woman holding a purse with a dog (chihuahua); signed with printed signature, reverse, lower right.
Color cibachrome of interior structure with white walls, railing and black escalator; on reverse at upper left: VILLA LA ROCHE, PARIGI (LE CORBUSIER) GIUGNO 2003; at center left: PER NICHOLAS OLSBER -- greeting to Nicholas--nondecipherable--dated and signed 2004.
Cibachrome print; image includes brick structure in background with dried vegatation in foreground. On reverse at bottom center; PER NICHOLAS UNA CARTOLINA DALLA TURCHIA AUGURIO DI UN BUON 1999 CON AMILIZIA, GUIDO RONTA DI CESSNA??, 28, XII 1998; signed, dated with title.
This photograph by renowned American artist Catherine Opie was commissioned by the Museum to coincide with the 2012 exhibition, Carefree California. The image depicts the bedroom interior of a ranch-style home popularized during the postwar era by architect, Cliff May, whose archive belongs to the Museums Architecture & Design Collection. Often concerned with the theme of identity, Opies work reads as a formal exploration into this particularized architectural landscape with a special focus on Mays innovative designs that eradicated the divide between indoors and out.
Frozen Embryo: Series I, #4, 1998-1999
Gelatin silver print mounted on aluminum
Image is in shades of grey, organic pattern of repeated snow-flake like shapes; reverse at upper right, title and date.
Frozen Embryo: Series I, #3, 1998-1999
Frozen Embryo: Series I, #2, 1998-1999
Image is in shades of grey, organic pattern of repeated snow-flake like shapes; reverse at upper right, title and date
Frozen Embryo: Series I, #1, 1998-1999
Office Baroque, 1977, printed posthumously ca. 1990
Some of Gordon Matta-Clarks best-known works are what he called his cuts, or large excisions executed by the artist in portions of the facades, walls and floors of soon-to-be demolished buildings. These cuts completely altered the buildings, letting in light and all manner of natural elements into the dusty, dark interiors. In so doing, he offered an alternative that upset the prevailing idea of what architecture could do and look like. These cuts also became visual statements against, as he put it, the containerization of usable space in the interests of capitalist gain, especially at the expense of the cohesiveness of the city and historical memory.
Digital inkjet print of Budweiser can pierced by a tree branch extending from left; tree bark fills the background.
Gift of the American Academy of Arts and Letters, New York; Hassam, Speicher, Betts and Symons Funds, 2013
Black and white digital inkjet print; centralized image of a house which appears to be leaning to the right. Large lawn at foreground.
Black and white image of a male torso; arms tatooed with HOWIE and BROOKLYN. Signed and dated at lower right; signed and stamped on reverse at lower right; 9/30 at lower left.
Doo-Da Hommage & Ray Johnson, ca. 1970s
Black and white image of the side of a building with text and images of repeating faces.
Man at Outdoor Market, ca. 1970s
Black and white image of a man seated at a table filled with jewelry and dolls (possibly for sale).
Older Female Sunbathing, ca. 1970s
Black and white image of an older female sunbathing; she is wearing a printed two piece swimsuit; signed and signature stamped on reverse at lower right.
Photograph; microscopic image of an insect, zoomed into body, one arm and half of head
Photograph; microscopic image of an insect, zoomed into body, one arm and half of head.
Image of elder man with glasses hanging from his suit.
Image of two dwarves. Included with image is what appears to be an advertisement for another gallery.
Collage of images ranging from young children to women and men.
Image of baby laying down upon a table type surface.
Image of a male soldier standing up with his sword pointed towards the ground.
Image of soldier, late 19th-early 20th C.
Image of two women, late 19th-early 20th C.
Image of two women with a background of the beach.