The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled #1, the artist has embellished her box in white beads with a red interior resembling that of a bed.
Women Beyond Borders Art Collection founded by Lorraine Serena
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled #1, Mujahid has used beads and pink lace to detail her box. Emerging from the box are white and red flowers in greens and red.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled, Farahmand uses a flat pattern design of ciruclar forms in yellows, blues and greens to cover her box.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled #1, Barekzai uses a flat pattern design of ciruclar forms in yellows, browns and black to cover her box. Indicated on the side is written 21-5-2003.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Painting, Ahmadi details camels, a winter scene with a faceless woman on the lid; written on the side is BELQIS FACLTY OF ARTS KABUL AFGHANISTAN.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled #2, the artist illustrates water in pastels with black representing trees and mountains.
The Women Beyond Borders Art Collection includes over 900 self styled wooden boxes reflecting on a specific woman's self-identity using a variety of multi-media processes. In Untitled #1, the artist uses a pastel colored seascpe and fruit with SHABNAM CLASS (1) FACULTY OF ART is written on the edge.
Oil on canvas painting positioned within a shadow box frame. Thick brushtrokes of earth tones layered together overlap throughout the image; the top third of the painting includes shades of grey; the signed initials IG are located on the reverse along with ? 2004
"Iris" in "mother lode" country, ca. 1976-1981
Zinc plate etching with dark blue ink lines illustrating an iris flower with two stems extending from a cluster of elongated leaves. The iris buds are in various stages of blossoming, with some petals clearly visible. AP-5 is written underneath the lower left corner of the image, Iris is written at center with ISABELLE GREENE at the lower right.
Small painting of melted red lipstick on canvas.
Black and white lithograph of a wheat or grain field. Multiple female figures dressed in traditonal Central American clothing collecting the grain into bundles and giving to male figures. who load it onto donkeys. Artist signature at lower right corner.
Gift of Gilbert Garcia and Martha Correa in honor of the Garcia-Correa family
Black and white lithograph of a centrally placed family including a father, mother and infant flanked by two philodendron-like plants. Figures are wearing Central American dress including a serape and a sombrero hat. Arist signature at lower right.
Black and white linocut. Two children at center right with an adult figure to the left. Arms and elbows of the children rest of the table. Head of the adult is burried in their arms which also lean on table. Artist name on reverse in right bottom corner.
Black and white lithograph with a centralized portrait identified as Paul Leroy Robeson holding a bird with broken chains overhead. Title at lower left; artist signature and date at lower right.
Black and white lithograph of a young dark skinned figure leaning out the window on crossed arms and folded hands. The interior window sill is lined with curtains; the exterior of the sill is lined with brick masonry. Title located at lower left and aristist signature at lower right.
Black and white lithograph of a singular centralized male figure standing on one leg and balanced on a raised column. Figure wears a dark cape and a large headpiece shaped in a pointed cylinder. Artist signature at lower right corner.
Lime Kilns from Mexican People portfolio
Lithograph of men working at Lime Kilns positioned at a building in the upper left background; artist's signature at lower right.
Black and white etching of two figures. The figure at right is outlined against a white background covered by a hooded robe with the left arm exposed. The left figure is placed on a black background wearing a darkly shaded hooded rob reaching across the image and holding a balancing scale. Title is located below image at the center with artist signaure and date at the lower right; edition statement at lower left.
Lithograph of a factory with workers hoisting lumber; signed at lower right.
Mexico en la guerra: los braceros se van
Black and white linocut of male laborers being led into a builidng. All men are dresses in traditonal Central American clothing with some wearing somberors and face coverings. At right is a figure holding a nightstick while watching the line of laborers. Artist signature at lower right corner; TGP stamp at lower left corner.
Back and white lithograph of a centralized group of three female wearing Central American dress with long skirts and serapes covering their hair; a younger female is fashioned in a long flowered skirt, serape and braided hair. Artist full signature at lower right.
Linocut of two children, one postioned behind the other wearing traditional dress; signed at lower right.
El Buen Maiz from the Ninos de Mexico portfolio
Back and white Linocut of a young male positioned in a field of corn and holidng cobs of corn. Artist name and notation T.C.P. is at the lower right.
Large color lithograph of a woman standing in a doorway holding an infant.Edition statement, signature and date lower left; printed along bottom ZUNIGA.
Obreros Comiendo (Workers Eating)
Black and white lithograph of centralized group of figures surrounded by scaffolding. Artist signature and the notation #48 and edition statement at lower left. Appraisal indicates printer/publisher as Taller de Grafica Popular, Mexico City.
Circular black and white linocut with centrally placed male and female cradling a baby while a smaller group of figures look on. Title at lower left; artist signature at lower right. On reverse at top center is artist printed name and notation pintor y grabador at top.
SIQUEIROS, David Alfaro
Lithograph of a figure sitting with knees drawn in. Edition number and artist signature at lower left with the full name printed at lower right. INDITA at lower right, possible title.
Black and white lithograph depicitng the sugar cane processing of a figure feeding sugar cane reeds into a stone grinder. Artist signature at lower right corner.
Black and white etching of three adult figures and infant on a boat: the two males row whle the female ffigure cradles baby in a hooded shawl. Notation Michoacan 1980-1986 at lower left with edition statement. Artist name and date at lower right.
Black and white linocut of an outdoor scene with a centralized group of figures wearing traditonal Central American dress. Artist signature, title, and additional notes on the reverse at lower right.
Color lithograph of three men sleeping on the ground; print signed and dated at lower right; illegible printing at lower left with P/A-9.
Dark black and white lithograph of a hooded female figure with a white face in repose. Title, year, and artist signature at lower right.
Black and white lithograph with singular male figure who is centrally placed in a kitchen or food storage space. The male figure stands on and crushes something under his feet. Artist sinature at lower right corner; 409 notation on reverse.
Black and white lithograph of three female figures dressed in long skirts with their hair down and uncovered. One woman holds a floral bowl on her head and at the lower right are two pineapples and a bundle of bananas. Artist intials captured in the print with her name written in graphite at lower right; edition statement at lower left in graphite; illegible wor at lower left, possibly title.
Rattlesnake illustration for Melodic Incidents of the Irrational World
Black and white linocut of a rattlesnake. The dark patterned serpent is positioned on a picture plane in a highly curved pattern enclosed with floral and vegetative designs mostly corn. P/A notation in lower left corner. Stamp, artist name and date, are on the reverse at upper left corner.
Colored lithograph with geometric multi-colored shaapes against a tan colored background on black paper. Edition statement at bottom left. Artist signature at lower right.
Colored lithograph with various figures in whites and blues; 111/XXV at lower left, signed at lower right.
Black and whitEetching of a singualr figure sitting on a box with hands grasped together in lap. Title at lower center with artist signature at bottom right with date notation of 1960.
Linocut with hand coloring of two figures one of which is menacing the other; edition statement at lower left.
Toma de Conciencia from Mexico Nueve
Colored lithograph on two sheets of paper joined at center; oval portraits of two men spliced above the eyes positioned top to top. Edition at lower left with title at the center. Artist signature at lower right. Published by Tamarind Lithography Workshop.
Color lightograph of four females sitting and kneeling together. The females appear to range in age from teen to older woman; edition statement, signature and date at lower left on image.
Black and white etching of an interior room and two figures. A female figure stands on the left and holds a sheet above the head of the second figure. Artist name and date at lower right corner; edition statement at lower left below image.
Color print in blue and green of abstracted figures sitting. Edition number in bottom left. Arist signature in bottom right.
Black and white etching of three monkeys with a single monkey extending across the picture plane while the remaining two monkeys reside in the lower left and upper right corners. Centralized image of two figures carrying a monkey's body on a long stick. Artist signature at the lower left corner.
Black and white etching consisting of three animal figures and a chair. Artist name at bottom and 125/250 notation at lower left corner.
Line drawing of a stick figure printed on red paper; edition number at the lower left; artist signature at lower right.
Black and white etching of singular slumped figure on a tree stump, unclothed and kneeling. Small x mark on the figure's forehead. Artist signature and date at bottom right. Notation at bottom, detailing gift from artist to Garcia with date of 1974.
Lithograph depicting a miner in a silver mine carrying a lantern with figures in the background. Artist name at lower right.
Black and white linocut of five figures in coversation including a female figure and four males. Artist name at lower right with 40; title on reverse side at top.
Hand-colored lithograph of seven children playing in a courtyard; bell on building and blue sky in the background. Edition number, artist signature, and date at lower right.
Linocut illustrating an ox drawn cart with a woman and child as a man directs the cart. A catus frames the image, showing a desert landscape. Block signature at lower left.
Si No Estevieras Con Tus alas Luminosas
Black and white lithograph consisting of five abstracted images. Artist signature of R. MENDIOLA and date at lower right corner; title at center with edition statement at lower left.
Untitled (Mountain with red background)
Abstracted mountain against a red background. Signature at lower right with date; edition statement at lower left.
Lithograph of a male and child stacking bricks positioned against a brick quarry. Signed at lower right below image.
Black and white lithograph of a gentleman's hand holding a bouquet of flowers with signature, date and edition statement at lower right below image.
Black and white lithograph depiciting a performance on a stage. The dark audience faces away from the viewer and on the performance; central performing figure on the stage is contorted. Artist printed name at lower center and artist signature at lower right coner.
Black and white etching of an abstracted face identified as Emiliano Zapata occupying upper half of image; a curvilinear band of black occupies the lower half; Artist signature at lower right. Embosser seal ALEIANDRA TLAPANCO MARTINEZ at lower left with edition statement
Color lithograph of vertical and horizontal bands of color; edition statement at lower left.
Black and white lithograph of two Fishwives (female fish sellers) wearing traditional dress and sporting various groups of caught fish.
Color lithograph of a group of faces super imposed over a half body self portrait; super imposed on image at upper left is the edition number and date of 10-11-86; artist signature at the upper right.
Etching and aquatint of a nude female with severed hands; her face is obscured while a secondary head is positioned at the lower half of image.
Black and white lithograph of the Tehuantepec River with a centrally placed female figure wearing a long skirt and serape around her head. She carries a basket on her head and balances it with her left arm; nude females bathe in the river. Signed at lower right; edition statement at lower left
Black and white lithograph with a church and nun in upper foreground while children's faces occupy the lower half flanked by two vertical beams; the children appear to be looking out. Artist signature at lower right corner.
Five color lithograph of a still life including a purple-blue vase with watermelons and lemons; edition statement at lower left.
Black and white lithograph of a clustered cityscape. Edition number at lower left with the title at the center. Artist signature and at lower right.
Black and white lithograph with a centrally placed bolder with two figures wearing traditonal Central American clothing carrying baskets of tools on their backs. At the lower left is a smaller female figure carrying an infant. Artist signature at the lower right.
Colored lithography of a singular seated figure. Figure rests chin on right hand and is holding a long stick in thier left hand. Behind the figure is a basket of white tulip flowers. Artist name and date at bottom right.
Colored lithograph of a semi-nude female figure seated in an outdoor space, possibly a field, combing her hair. Artist initals at lower left corner with full name and date at lower right.
Linocut of Emiliano Zapata identified as the Great Leader of the Revolutionary Peasant Movement standing in a corn field wearing peasant dress. Signed and identified below image.
Lithograph of laborers with baskets on their baskets walking barefoot on a plank. Artist signature, date, edition statement at lower left; RA initials at upper right.
Black and white lithograph of the upper half of a female figure standing in profile; artist signature and date at lower right; edition statement at lower left.
Art & Language (Michael Baldwin, Charles Harrison, Mel Ramsden)
Map to indicate countries according to development of the politics of representation, 2002
Printed Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. along the lower edge: ART? ART & LANGUAGE - Affiche No. 84 - Buyse/Lille-2002
Donald P. Walton Jr. and Frances Colpitt Estate
Map to indicate countries according to ability to understand reality as hyperrealistic
Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. Printed along the lower edge: ART? ART & LANGUAGE - Affiche No. 83 - Buyse/Lille-2002
Map to indicate countries according to development of an everyday critique of false universals
Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. Printed along the lower edge: ART? ART & LANGUAGE - Affiche No. 82 - Buyse/Lille-2002
Map to indicate countries according to penetration by work beyond the object
Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. Printed along the lower edge: ART? ART & LANGUAGE - Affiche No. 81 - Buyse/Lille-2002
Map to indicate countries according to capacity to glimpse the possibility of the absence of presence, and the possibility of change
Art & Language is a British conceptual art collective founded circa 1967 by artists Michael Baldwin, Terry Atkinson, David Bainbridge, and Harold Hurrell. By 1970, artist Mel Ramsden and critic Charles Harrison joined the group. The collective’s name reflects their focus on the use of language as both a tool and a subject in their work, exploring the relationships between language, theory, criticism, and art-making. The series Map to indicate… expands on Map Not to Indicate (1967), an early conceptual work playing with the conventions of cartography and how symbols and shapes come to signify meaning. Printed by Alain Buyse at his workshop in Vieux-Lille, France, the works are part of the poster series ART?. In 2014, Art & Language explained, “it is essential to our sense of ‘map’ (or for that matter ‘index’) that it is genetically linked to something, even if the modality of that link is no more than a possibility.” In Map to indicate…, the reference is a world map, where according to the indication, geographical boundaries are abstracted and indexed by squares and rectangles. Printed along the lower edge: ART? ART & LANGUAGE - Affiche No. 80 - Buyse/Lille-2002
TAEKO, Tomiyama b. Japan
Tomiyama Taeko was a visual artist born in Kobe, Japan, in 1921. After living as a young woman in Manchuko, a puppet state of the Japanese empire, and briefly studying art in Tokyo, Taeko created works in various media to tell the stories of Japan’s marginalized groups, reckon with Japan’s history of colonization, and address other sociopolitical issues of east Asia. From the 1980s onward, her work incorporated indigenous Asian mythology to critique Euro-American-centric values in modernism. A Tale of Sea Wanderers ties together threads of her previous works, ambitiously tackling imperialism, environmentalism, capitalism, traditional folklore, and transnational history in a single series of paintings and mixed media collage. Taeko died in 2021 in Tokoyo, Japan. Her work has been exhibited globally in Japan, South Korea, and the United States.
Gods of Happiness, Business! 2, 2008
Gods of Happiness, Business! 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions last name is provided first.
Gift of Sakata Natsume in memory of her mother Tomiyama Taeko
Gods of Happiness, Business! 1, 2008
Gods of Happiness, Business! 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanes naming conventions last name is provided first.
Sea and Sky of Greed 3 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Sea and Sky of Greed 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Sea and Sky of Greed 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 8-2 Sino-Japanese War
Rough Seas and the Age of Exploration 8-2 Sino-Japanese War is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. The nishiki-e (traditional multicolored Japanese woodblock prints) collaged into this work depict the pivotal naval clash of the First Sino-Japanese War (189495). The vivid, celebratory tones of nishiki-e, which glorified military victories through propaganda art are in stark contrast with haunting imagery that features ghostly figures and blood-stained scenes of Chinese civilians under the control of Japanese soldiers. This work exemplifies Tomiyamas sharp critique of imperialism, in which images of celebration and death are eerily juxtaposed. This unsettling and grotesque combination serves as a stark portrayal of imperialism itself, a theme that recurs throughout her work. It embodies Tomiyamas unwavering determination to confronts the grim and enduring legacy of imperialism and invites viewers to reflect on these harrowing histories. As is customary in Japan, the artist's last name is recorded first.
Rough Seas and the Age of Exploration 7
Rough Seas and the Age of Exploration 7 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 6 Sino-Japanese War
Rough Seas and the Age of Exploration 6 Sino-Japanese War is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. The nishiki-e (traditional multicolored Japanese woodblock prints) collaged into this work depict the pivotal naval clash of the First Sino-Japanese War (1894-95). The vivid, celebratory tones of nishiki-e, which glorified military victories through propaganda art are in stark contrast with haunting imagery that features ghostly figures and blood-stained scenes of Chinese civilians under the control of Japanese soldiers. This work exemplifies Tomiyamas sharp critique of imperialism, in which images of celebration and death are eerily juxtaposed. This unsettling and grotesque combination serves as a stark portrayal of imperialism itself, a theme that recurs throughout her work. It embodies Tomiyamas unwavering determination to confronts the grim and enduring legacy of imperialism and invites viewers to reflect on these harrowing histories. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 5
Rough Seas and the Age of Exploration 5 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 4
Rough Seas and the Age of Exploration 4 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 3
Rough Seas and the Age of Exploration 3 is is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 2
Rough Seas and the Age of Exploration 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 1
Rough Seas and the Age of Exploration 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 8
The Origins of Hiruko and the Puppeteers 8 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
The Origins of Hiruko and the Puppeteers 7
The Origins of Hiruko and the Puppeteers 7 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. As is customary in Japan, the artist's LAST name is recorded first.
The Origins of Hiruko and the Puppeteers 6
The Origins of Hiruko and the Puppeteers 6 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 5
The Origins of Hiruko and the Puppeteers 5 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 4
The Origins of Hiruko and the Puppeteers 4 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 2
The Origins of Hiruko and the Puppeteers 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 1
The Origins of Hiruko and the Puppeteers 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
Blood Red Plains Burned by the Fires of War
Blood Red Plains Burned by the Fires of War is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Artist's signature at lower right. Following Japanese naming customs, last name is provided first.
Adrift II is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Artist's signature at lower right. Following traditional Japanese naming conventions, last name is provided first.
Adrift I is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Artist's signature at lower right. Following traditional Japanese naming conventions, last name is provided first.