Paint and colored pencil print of passengers in distress during a plane crash; work is part of a series the artist completed on a 2-channel installation called Fear. The work was included in PS1's Animations show in New York, Kunst-Werke, Berlin and at the Mori Art Museum; signed on the reverse.
Mixed media on masonite of an anatomical torso surrounded by flowers; lower left, signed by the artist.
Gilcee print of an anatomical head in profile with flowers at the neck; lower left, edition statement 1/20; lower right, signed and dated by the artist.
WOODS, Lebbeus and SMITH, Kiki
16 3/4 x 21" SHEET, COLOR 24 x 78" SHEET, B&W
Adolf Wolfli Exhibition, Kunstmuseum, Bern, 1985
Adolf Wolfli Exhibition, Kunstmuseum, Bern, 1976
Reproduction of 'The Herdsman-Rose of Australia, an Organ with the Gift of Speech,' 1911, pencil and colored pencil.
screenprint on handmade Echizen-Kizuki-Hosho paper
Museum purchase in Recognition of Phyllis Plous
Museum Purchase in Recognition of Phyllis Plous
screen print on handmade Echizen-Kizuki-Hosho paper
Museum Purchase Fund in Recognition of Phyllis Plous
Primitive Segments (Title Page)
sheet: 12 x 10 in. frame: 14 1/2 x 12 in.
William Wegman is an American artist best known for creating a series of compositions involving dogs, primarily his own Weimaraners in various costumes and poses. This color offset lithograph reflects this practice and is signed and dated at lower right by the artist; edition statement 8/32 at lower left.
Once Upon a Midnight Dreary, 1943
layered cotton, linen pulp, plexiglass frame
abstracted line drawing of seated figure
Screenprint portrait of Sitting Bull with a blue face and orange shirt set against a white ground; estate and signature stamp on reverse at lower left??? with EXTRA, OUT OF EDITION FOR RESEARCH AND EDUCATIONAL PURPOSES ONLY NOT FOR SALE (in red) and PT up 100 ER 091
Gift of the Andy Warhol Foundation for the Visual Arts © The Andy Warhol Foundation for the Visual Arts, Inc.
Black and pink screenprint; centralized image of doll-like figure and windmill with two children holding umbrellas at left and right; estate and signature stamp on reverse at lower left with EXTRA, OUT OF EDITION FOR RESEARCH AND EDUCATIONAL PURPOSES ONLY NOT FOR SALE (in red) and 147d et 023
Screenprint portrait of Hans Christian Andersen seated with hands folded on lap; silhouette in blue line set against a yellow background; estate and signature stamp on reverse at lower right with EXTRA, OUT OF EDITION FOR RESEARCH AND EDUCATIONAL PURPOSES ONLY NOT FOR SALE (in red) and 147A ET 023.
Screenprint portrait of Ingrid Bergman portraying a nun; blue neck and chest area with a habit in pinks and yellows; estate and signature stamp on reverse at lower left with EXTRA, OUT OF EDITION FOR RESEARCH AND EDUCATIONAL PURPOSES ONLY NOT FOR SALE (in red) and 122B ER 002
Screenprint of Muhammad Ali; bust portrait of Ali positioned against a yellow ground with pinkish stripe on left side; estate and signature stamp on reverse with EXTRA, OUT OF EDITION FOR RESEARCH AND EDUCATIONAL PURPOSES ONLY NOT FOR SALE (in red); stamped at lower left @ANDY WARHOL ENTERPRISE, INC., 1978 and 074DER.001
Large screenprint on paper in yellows and greens depicting a sunset; estate and signature stamp on reverse at lower left with EXTRA, OUT OF EDITION FOR RESEARCH AND EDUCATIONAL PURPOSES ONLY NOT FOR SALE (in red) and PT 041+ER.O27
Gift of Kenneth Pasternack © The Andy Warhol Foundation for the Visual Arts, Inc.
Like Henry Fords Model Ts at the beginning of the 20th century, Warhol in the later years, created art as mass production. Printmakers in Europe from the late 15th century have been printing identical impressions from the same plate or stone, often in studios with some (or many) assistants. But Warhol in his New York studio called The Factory transformed this process into multiples comparable to Fords system of mass production. Warhol chose the Campbells soup can image as an icon, not for veneration, like a Byzantine Madonna, but as an acknowledgement of a dominant (or the dominant) character of 20th-century culture. The soup that had once been produced in a family kitchen by loving hands for immediate consumption is now manufactured efficiently by anonymous white-gloved workers to be shipped all over the western world and stored for eventual consumption. It may not taste so good but its cheap, dependable, and convenient. Visually this can appears without any setting establishing no time or place. Culturally it is an impersonal product of modern industrialized society. Printed on a sack usable for groceries, it might seem utilitarian. But mounted on a blank background and with a discrete reference to the Institute of Contemporary Art, Boston it is clearly intended primarily as a comment on our culture. This edition was given in honor of John Bommer (1957-1986) who received an MFA at UCSB in 1983 as John B. Murphy II. He was already an accomplished painter but his life was cut short by AIDS before the development of effective treatment. Alfred Moir Professor Emeritus History of Art and Architecture
Gift of Gary H. Brown in Memory of John Bommer © The Andy Warhol Foundation for the Visual Arts, Inc.
Gift of Gary H. Brown © The Andy Warhol Foundation for the Visual Arts, Inc.
sheet: 41 1/2 x 41 1/2 in frame: 44 x 44 in
Portrait of Richard Nixon, green forehead, blue cheeks, pink suit, red tie, yellow background, "Vote McGovern" across bottom edge
Gift of Dr. and Mrs. Leon O. Banks © The Andy Warhol Foundation for the Visual Arts, Inc.
Gift of David and Arlene Shaposhnick © The Andy Warhol Foundation for the Visual Arts, Inc.
Gift of Dr. and Mrs. Eugene Anderson through the Art Affiliates to the Ala Story Print Collection.
VIOLE, Laurenu (or Laureme?) D
Horizontal drawing on graph paper; felt tip pend drawing at center which has faded considerable
The Modern Chair: Its Origins and Evolution
Gift of Mr. and Mrs. Stanley Sheinbaum through UCSB Art Affiliates
Print or drawing in the form of a Christmas card; greeting on left; image matted on right of a semi-circle with dots
Collage with figures, animals and Japanese calligrphy
Collage containing hand drawn and painted papers consisting of figures, animals, patterns, and printed Japanese calligraphy along with a cherry tomatoe Salute label.
Estate of Frances Garvin and Keith Julius Puccinelli
graphite, colored pencil on tracing paper
sheet: 18 x 23.375; image: 12 x 21 inches
American, Biala, Poland 1900 - 1982 Provincetown, MA
Gift of Jesse and Nancy Alexander and Art Museum Purchase Fund
TURNER, Janet Elizabeth
sheet: 30 x 22.25; image: 18 x 12 inches
American, Evanston IL 1922 - 1991 Los Angeles
Watercolor ; circular patterns in white, brown, and black
watercolor; overall patterning design of blue, brown, gold, and white
project drawing for installation at Visual Arts Museum, NY
Jean Tinguely was best known for his whirring machine-like sculptures that were constructed from scrap materials, including old radios, wheels, springs and motors and oftentimes alluded to the rampant consumer society he saw all about. The compositions were devoid of function but reflected Tinguelys belief that human existence was absurd, subjected to the whims of chance, and even prone to chaos. This drawing features three different views of Chaos I, a public artwork in Columbus, Indiana. While designing the piece, Tinguely made more than 70 depictions of this sculpture in a variety of media. In addition to the pencil strokes that give the impression of movement, Tinguely incorporated several fanciful Collaged elements, such as the flag. These drawings helped Tinguely work through different facets of his projects and often captured mundane information associated with working on such a large project. For example, on the far right panel, is the name and telephone number of Irwin Miller, the person who commissioned the sculpture.
Swiss, Fribourg 1925 - Lives Essones, France
TING, Walasse and FRANCIS, Sam
Portfolio includes works by Pierre Alechinsky, Karel Appel, Enrico Baj, Alan Davie, Jim Dine, Oyvind Fahlstrom, Robert Indiana, Alfred Jensen, Asger Jorn, Allan Kaprow, Alfred Leslie, Roy Lichtenstein, Joan Mitchell, Kiki O.K., Claes Oldenburg, Mel Ramos, Robert Rauschenberg, Reinhoud, Jean-Paul Riopelle, James Rosenquest, Antonio Saura, Kimber Smith, K.R.H. Sonderberg, Bram Van Velde, Anday Warhol and Tom Wesselmann
Annnouncement in black and white text with glitter quesion mark; fundraiser for live bands on February 3, 1995
Etching of three cigars in an ashtray with blue smoke rising to fill the upper half of the piece. At lower right, signed and dated. At lower right, an indication that this is number 48 of an edition of 50.
Study for McDonald's Hamburgers Invading Japan/Self-portrait
21-Color woodblock print with additional hand color
A woodblock print of a woman dressed in bright colors about to eat a burger. The woman has an exaggerated tongue and eyes. From the series titles "3 Flavors Invading Japan".
American, NYC 1931 - lives Salisbury, CT
sheet: 30 x 25.5 in; mtd. on board: 32.125 x 25.5 in
United States NYC 1931 - lives Salisbury, CT
Paper, masking tape, graphite, acrylic box frame