Women Beyond Borders Art Collection founded by Lorraine Serena
Wood box, dyed sand, needles, beads, fabric, ribbon
Amazons of the Next Millenium, 1996
"As the title suggests, my box is a symbol of the Amazons, female warriors, who lived and fought together in a migratory way of life during the golden age. My box is filled with a series of women's names (two hundred) of all nationalities from antiquity to the present, printed in capital letters, in different colors on white paper tags. Each of the names brings into mind images of a woman we know, we read, we are, or we want to be. This box filled with names, which come out from all gour sides, becomes almost invisible and signifies the power, the strength, the importance, the influence and the voice we women could achieve working together, for our rights against violence and discrimination at the beginning of the next millenium." - Jenny Marketou
Clipboard, frame, framed photographs, wire, wood box, metal ornaments, ink on paper
Wood box, lens, dice, photographs, vinyl record, stamps, metal chain and key
Polina Fedorova worked with her 96-year-old grandmother to create this box.
Incoming loan, Courtesy of Frank and Lorraine Serena
de CARRIERI, Leonor Rigau
Constructivismo Deconstructivismo, 1995
The artist has reconfigured her box into multiple adjoining puzzle pieces.
"Leonor Rigau de Carrieri was born in San Luis, Argentina, on October 2, 1931. She graduated as a Professor of Fine Arts in 1953, at the National University of Cuyo. There, she specialized in Color Theory, also studying traditional craft with Víctor Delhez and experimenting with didactics with César Jannello. She later married the sculptor José Carrieri and spent periods in Europe on scholarship, returning several times. Her career combined teaching, research, and institutional leadership. She taught in Mendoza and at the National University of San Juan, where she was eventually named Professor Emerita. She held senior roles at the university, served as a delegate for the Argentinian National Arts Fund, and directed the Tornambé Center for Creative Visual Arts and Museum. Her body of work spans painting, serigraphy, computer art, stained glass and glasswork. Investigations into color and light became a defining aspect of her practice. She exhibited widely, with solo shows in Argentina, in San Juan, Buenos Aires, Mendoza, and San Luis, and group exhibitions in Argentina, Mexico, and Canada. Her works are held in private collections, and her murals and glass pieces appear in homes, churches, and public institutions across the Cuyo region. Painting series include: Los pájaros (Birds); Isla de Pascua (Easter Island); Los comediantes (The Comedians); Muñecas para armar (Dolls to Assemble); and Los iconostarios (The Iconostaries)."" Source: Leonor Rigau de Carrieri, San Juan al Mundo, September 10, 2023. https://www.sanjuanalmundo.com/articulo?id=330114"
"In these devastating times of deliberate, pitiless destruction of homes, history and peoples, I defiantly built an edifice of stone to celebrate the future. It is a shrine, a shelter, an obelisk for all those people and countries whose future has been brutally marred and who are denied the chance of generating personal and collective memories. For, as every stone touches another stone, so does memory--it is created by an ageless, unbreakable bond between the past, present, and future. The stones used are ancient Byzantine mosaice cubes collected from near an archaeological site in Palestine. The mortar to fix the cubes together is an old Palestinian building recipe." - Vera Tamari
Wood box, paint, poster board, string, wood, metal ornament
"In my home country, Japan, there is a legend for girls that says that their prospective husbands have their little toes tied up to them with an invisible red thread. I used to believe in this legend as well. In my opinion, it is wonderful to be able to believe in such a thing. Since we're infants, we are educated to play a role either as a woman or as man. I still remember when I used to play house-dolls with my friends and how much we enjoyed playing the mother's role, like all the mothers of every mother. It is a simple but very pleasing memory that all women have inside. However, nowadays I often feel a victim of the male order and often wonder what I can do about it. I was thinking of this as I was making this box and I felt like I was playing with dolls again because I was doing typical housework tasks such as sewing, washing, and ironing. I hope you will tender my piece during the traveling exhibition as if it were our collective memory, which men will never be able to understand. And please, wash it and iron it when needed." - Akané Asaoka
NEDELJKOVIĆ, Borislava Prodanović
Wood box, metal hinges, feathers, beads, polymer clay, straw
Wood box, paint, metal figurine, beads, lace
Wood box, metal hinge and closure, collage, fabric, filling, thread
Wood box, barkcloth, coconut fiber, sea shells, paint
Wood box, plaster, doll socks and shoes, plastic flowers
"This is a memorial to all in my country, Guatemala, who have never received a proper burial, and were not only insanely murdered by the army of their own country, but then were piled up in clandestine cemeteries, so that their loved ones could never come and be with them. And the epitaph (THE WISH) reads as follows: Oh! Please give us a tomb! a tomb for our souls, for our poor bodies, so sore and tough from that volcanic lime! We plead you, we implore you, dear God, dear people, dear brothers, little brothers and sisters, give us a tomb, a safe tomb, with shroud made of sweetness, a place to console us, a nice place, to erase the infamy, a beautiful tomb, for us!" - Veronique Simar
Wood box, wood, colored pencil, wire mesh
"My box sculpture represents my past and my hopes and dreams for the future. Now I am caught in the middle as I work in Singapore as a domestic help. It is the thought of my children back home in the Philippines (that's why their picture is here) and my dream of having my own restaurant in Manila that keeps me going." - Anunciación Y. Paras
Wood box, filling, velvet, sweing trim, crocheted pouch
"There is one thing that is so much a part of our lives... the thatched-roof cottage. No matter where we live, we conjure up images of our cottages when we get homesick. They are remnants left behind by our ancestors from a long time ago. They are features of the natural beauty of the Vietnamese countryside. Do you know that although they are made of simple, natural materials such as different types of bamboo and palm leaves, they have covered us during rainy and sunny seasons. Some of the houses are built on stilts to protect us from against floods and the attack of wild animals in the night." - Thanh Van Tran
DAVIES, Rosalind Damaris
"Where Granvail, Irish Sea Queen resided 1530-1603." - Rosalind Damaris Davies
SERRANO, Fernande Carrión
Wood box, paint, photographs, fabric, plastic dolls, metal ornament
"My work is completely visceral. Each work or piece that I create is born from an experience or event that has marked my life. For me, it holds the meaning of a ritual of celebration, offering, thankfulness, or prayer. In this sense, I believe that it is profoundly religious. It is my way of struggling with the world, to become cleansed." - Fernande Carrión Serrano
Wood box, gauze, toy parts, circuit board
Wood box, perfume bottles, make-up containers and brushes, mirror
"The title, Make Up, is chosen as it refers not only to the cosmetics we women apply on our faces, but also to other connotations--to fabricate, to supplement, to collect, to put together, to parcel, to put into shape, and to arrange-- all of which formed part of the procss in its making. Make Up looks at the notion of wholeness with reference to the obsession women to be or be seen as psychologically and physically sufficient. The mirror on the top of the box reflects the viewer's face, thus engaging/making him/her as a subject. Hence, the artwork questions a woman's need and her behavior in wanting to "fit in" through the act of supplementing her appearance with cosmetics. Is the woman's quest to Make Up her complete self destined to fail?" - Dorathy Lye
"My work deals with the femininity of a woman, as she struggles not only be a part of society's workforce, but also to maintain her appearance as changes are brought about through aging. Instead of a small wooden box, I have cast a larger box from wax, not only to enhance its appearance but also to give it that sense of being alive. The box itself is wrapped up with skin and it is this skin that is stacked inside the box in repetitive folds. The wrapped box together with the repetitive skin represents the struggles of a modern woman in the community, to which she has, to balance between society and the family, and yet maintain her endless beauty for society." - Agatha Hutton
ROSSETTI-JOHNSON, Willow
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
A color print of the lower half of a large bird. The bird's belly, talons, and tail feathers are exposed. Signed by the artist on the front at the lower right corner.
Estate of Frances Garvin and Keith Julius Puccinelli
White Rhino Vision, African Field Guide, ca. 2006
Photograph of the blurred form of a rhino's head in muted blacks and browns. At lower right, signed. At lower left, an indication that this is number 1 of an edition of 5.
Polaroid transfer on paper of a group of seashells; at lower right, artist signature, s/o; at lower left, edition statement, 1/3.
A photograph of a large black bird positioned against a glazed white and gray background. The bird is central to the work and the numerical sequence "659-0338" surrounds it, either written in pencil or carved into the glaze. On the lower half of the work, beneath the bird, the words "six five nine oh three three eight" are visible. On the reverse, in lieu of a signature, is a tag indicating the work was created by Susan Jorgensen.
Photograph of a painted statue of a woman and three seashells on a black background. At lower right, initialed.
Sedgwick, Quercus Agrifolia Interior, ca. 2002-2003
Color photograph of a tree with expansive branches positioned in a plot of green grass; at lower right, signed; lower left, edition statement 1/20.
Acrylic ink, oil stick and matte medium on canvas
This painting begins with two portraits of Tohono O'odham basket weavings sitting next to one another. For “Trip to Topawa,” I am considering how each of these baskets are made and the indigenous knowledge and understanding of what is happening all around us, that allows for these creations to come into existence. From my perspective I see an action of spiraling outward, formed at the core of these two original baskets. One basket executed using rebar wire contrasted with the other work rendered from bear grass, devils claw, and yucca. These designs have momentum, seemingly reflecting what is happening in the cosmos above. When uniting each of these works on one canvas I envision a clashing of galaxies, acted out in weavings of wire and desert harvested materials, then, skewed, and explored on this canvas. In my painting process I build up texture and color with oil sticks to create movement from the very beginning. This step may not be visible right away as often the lines are obscured by the oil paint, I then go on to apply. In “Trip to Topawa,” I’ve isolated this line work, allowing the texture and color to expand on desert basketry and culture. The centralized gradient of deep reds and maroons originates from the ceremony of harvesting and processing saguaro cactus fruit and sets the tone for the spectrum of color decisions explored throughout. “Trip to Topawa,” is the story of visiting ancestral pieces at the cultural center on my reservation in Topawa, Arizona. This research allowed me to observe and communicate my intentions to the baskets that I would then go on and investigate through abstraction, taking care to follow the linear exploration that the weavers have created before me. --Ishi Glinsky
Museum purchase with funds provided by Beth Rudin DeWoody and an anonymous donor
Large oil painting of the Santa Barbara coastline; foreground includes a snowy plover positioned on a sand covered hill with a lagoon, trees and green covered rolling hills punctuated by purple foliage in the background; signed at lower right with the date in pencil HANK PITCHER '03
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.
Untitled (Man on a Stool), 2017
Pen, ink, paint, crayon and graphite on paper
Untitled (Head with Potatoes), 2017
Drawing in ink and paint on butcher paper; profile of a bald man with potatoes painted in white positioned on and around his head; signed and dated at lower right.
Untitled (Man with big Nose), 2017
Drawing in profile of a man's head with a large nose; figure has whiskers and is somewhat bald with whisker-like tufts of hair; background is painted white.
Large drawing in ink and colored pencil; nude male with large nose reclining with his face turned toward the left while his lower body is turned right; signed and dated at lower right below leg.
KENNEDY, Amos Paul, Jr.
BAD Officiaals are elected by GOOD citizens who do not VOTE!, 2013
Collage of an unfolded map of Wisconsin with the title printed in large black letters; credited with this quote is George Jean Nathan who was an American drama critic and magazine editor. Signed at lower right by Amos Paul Kennedy, Jr.
KENNEDY, Amos Paul, Jr. b. United States
The work of Christopher Suarez explores the relationship between communities and their built environment through the three-dimensional medium of clay. His ceramic sculptures recreate the neighborhood buildings, laundromats, convenience stores, and mercados that define his experience growing up in Long Beach, CA. Suarez relies on personal memory to rebuild seemingly unremarkable places and spaces that are, in fact, important cultural and personal sites within his community. Anaheim Center explores the strip mall, a quintessentially Southern Californian architectural form, as the epicenter for the cultivation of community and culture. These commercial centers are not only an integral part of the SoCal landscape, but more importantly for the artist, an extension of home. According to Suarez, “Our homes, the buildings that we go into, the businesses we shop at, these structures carry the spirit of our relationships.”
Human; Woman; Landscape; Geometric; Figurative
Watercolor and monoprint collage on paper.
Monochrome watercolor collage with seven figures interacting with geometric forms throughout the image. One is lying down in the lower right side whilst the other six figures perform a variety of stances.
Figurative; Human; Woman; Landscape; Geometric
Watercolor and monoprint collage on paper
Monochromatic watercolor collage depicts one figure in the lower left side bending over, reaching for a rectilinear form. Another figure is in the upper right side reclining on the floor with one arm supporting her body upright while one leg is straight and one is bent.
OFILI, Chris, b. Great Britain, 1968
silkscreen on blackboard, 24 x 35" each of 3
A triptych of green blackboards; Halston screened in white letters on panel 1; Gucci screened in white letters on panel 2; Fiorucci screened in white letters on panel 3 Nayland Blake's Halston, Gucci, Fiorucci plays with ideas of identity and narrative, by infusing objects with greater meaning through their arrangement and grouping. This work comes from a series by the artist in which emblematic words are silkscreened on chalkboards. Blake describes the text in this series as objects that are “treated as link(s) in the chain of association.” For Blake, those associations surround notions of homosexuality and gay culture. Halston, Gucci, Fiorucci, ostensibly takes its title from a line in the 1978 disco hit, “He’s the Greatest Dancer” by Sister Sledge. The song describes a sexy, fashionable, man about town who entrances everyone with his good looks and dance moves. Today, the lyrics can be read as a series of clichés about gay men obsessed with appearance and fashion.
Blake, Nayland, b. United States, 1960
Silk textile with the Tree of Life symbol
Vessel with polychrome decoration, ca. 900 CE
Small vessel with polychrome decoration with exterior bands resembling trophy heads with yellow band outlined in black.
Watercolor, Painting, Works-on-Paper, Abstract, Tricolored
This watercolor self portrait is part of the Wilkes B.C. Series (Before Caner) as the artist was diagnosed with lymphoma in 1987. The multiple brush strokes in greens, blues and purple vary in size while suggesting facial features.
Gift of Marsie, Emanuelle, Damon & Andrew Scharlatt, Hannah Wilke Collection & Archive, Los Angeles in honor of Marc Selwyn
(c) Marsie, Emanuelle, Damon, and Andrew Scharlett; licensed by VAGA at Artists Rights Society (ARS) New York, NY
This watercolor self portrait is part of the Wilkes B.C. Series (Before Caner) as the artist was diagnosed with lymphoma in 1987. The multiple brush strokes in greens, yellows, green and purple vary in size while suggesting facial features.
Rome from the Mont Pincio, ca. 1878
Pencil drawing of Pincian Hill; image displays architectural views of Rome in the middleground; while greenery and/or flora covers the foreground.
This graph paper drawing displays a large web of connections swirling into a coil-like centralized point with a horizontal band of waves that run acorss the paper; Signed (recto).
Museum purchase with funding provided by The Buddy Taub Foundation, Dennis A. Roach and Jill Roach Directors
This porcelain sculpture carries two protruding additions on the surface, on the left side a half-cylinder shape is connected by a vertical slab. On the lower right side of the sculpture are two porcelain pieces placed in a "L" shape; the horizontal piece contains the number "4,221" upside down. In addition, the upper-right corner of this sculpture contains a projection of porcelain that displays the letters duavin.
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.
Wide-bodied container in red ceramic; soft formed rides encircling the surface.
South America, Peru, Chimu
Based on King Oedipus from Greek mythology, this painting depicts the hunter Oshosi who unwittingly killed one of his parents. Oshosi was given a quest to find and trap a rare bird as a gift for Olofi (also called Olodumare or Olorun). Upon completion, his mother thought the bird was for dinner and killed it. Oshosi found the dead bird and trapped another. Olofi was delighted crowning Oshosi and making him an orisha of contemplation, loving the arts and of beautiful things. In addition, Olofi granted Oshosi a wish; he asked for his arrow to kill the person who had killed the first bird. He let his arrow fly, and it pierced his mother's heart. Oshosi is often viewed as a model of justice but in Rosales’ painting he looks vulnerable expressing the costs of his actions.
ROSALES, Harmonia b. United States, 1984
I dreamed I was having my photograph taken with a group of people. Suddenly I began to rise and fly around the room. Halfway around I tried to get out the door. When I couldn't get out I continued to fly around the room until I landed and sat down next to my mother who said I had done a good job!, 1982-83
Screenprint on one colored Inveresk Exeter cover paper. Numerous figures on the lower left and the lower right, two of which are seated, all gathered in an open space; edition number 6/23 on lower left, signed on lower right; This image is part of Borofsky's series of 23 signed one-color screenprints.
Self Portrait as Geisha Snorkeler, 1984
Pencil drawing on tracing paper; self portrait as Geisha Snorkeler gazing down with oversized dress and snorkel fins in hand.
Oil on canvas painting; portrait of a man wearing a stripped t-shirt gazing down; signed and dated on reverse at upper left.
Contemporary artist Andy Warhol, born in Pittsburg Pennsylvania in 1928, is a seminal figure of the American Pop-Art movement and often considered one of the most important postwar artists of the 20th century. His practice spans from photography, sculpture, film, painting, and most notable, silkscreen images. Originally hoping to be a teacher, Warhol studied art education at the University of Pittsburgh then went on to study commercial art at Carnegie Mellon University. At the beginning of Warhol’s professional career as an artist, he worked as an illustrator for women’s magazines in New York. During this time Warhol began experimenting with a style that appeared to be mass production, which brought him later fame with his silkscreen works exploring the commercial obsessions of postwar America. Warhol’s practice typically takes people and objects from mainstream America and flattens both their dimension and color to create and mass-produced image. In 1963 Warhol opened his infamous studio, dubbed ‘The Factory’ where he would host large parties and work on a variety of multimedia projects including silkscreens, pictures, film, and sculpture. Here, collaboration became an important part of his practice with members of his Factory retinue, which included Edie Sedgwick. In 1987, at the age of 58, Warhol died of complications following a gallbladder surgery. Today his artworks remain some of the most recognizable contemporary imagery. Sources: "Andy Warhol: Biography". Andy Warhol Foundation for the Visual Arts. 2002. Archived from the original on July 24, 2010.
© The Andy Warhol Foundation for the Visual Arts, Inc.
Black and white print; complex design of lines
South America, Peru, Vicus
Copper or bronze ceremonial crown (element) with green surface oxidation resulting from prolonged time in burial grounds; the openwork deocration represents two confronting mythological animals.
From the Collection of André and Elaine Condon
South America, Brazil, Kayapó
Frontal headdress (Meoko) of feather ceremony
Feather headdresses like the one illustrated here figure prominently in the ritual dress of the Kayapó, whose beliefs and worldview are very much integrated with the natural environment in which they live. Worn by adolescents during the intitation rites of Marake, body painting as well as bead and featherwork, are extremely important among this group.
AFRICAN, Sierra Leone, Mende people
Crescent moon-shaped seat supported by a single wood pole, carved in a spiral design. The seat's tapered ends are small rounded knobs carved at each end.
AFRICAN, Liberia, Dan people
Carved wood Mancala game board in an aminal form with head and tail-like shapes segregated by a table-like structure with 12 cups; four carved tapering legs extending from each corner. Played with small stones, beans or seeds and rows of holes or pits in the earth, Mancala games are a family of two-player strategy board games or other playing surface. The objective is usually to capture all or some set of the opponent's pieces.
Pen and India ink on hot press Arches paper
Bathsheba pleading before the old David to make Solomon his successor
This rarely depicted Old Testament scene shows the power and perseverance of women. When Bathsheba learned of a preemptive grasp for the throne, she convinces David to name their son Solomon as the future king of Israel, even though he was not the first in line. Known for her beauty, Bathsheba is usually depicted as an object of desire at her bath. The artist upends longstanding stereotypes by presenting the biblical heroine’s intelligence and strength in persuading the king to select the next ruler on the qualities of his character, rather than the traditional order of succession. Previously considered Queen Esther before Ahasuerus, the painting was recently amended as Bathsheba due to the presence of the younger woman standing nearby. The figure represents Abishag, the king’s female servant who took care of him in his old age.
Wool, polyamide, viscose, polyethylene, terephthalate, hand-spun California Variegated Mutant (Nashua), Redwood
Many of Hansen's works include vibrant abstract forms such as the AD&A Museum's Spooky Action which details a prominent lemon shaded sphere along the top. This mixed media hanging reflects the labour intensive process of hand knitted, wahsed and dyed wool which the artist spins himself eventually mounting onto a wooden stretcher. And although the construction of his work is often seen as improvised, its appearance is predetermined by computer algorithms potentially generating an infinite number of color combinations resulting in the artist being unaware of how the finished work will look until it is complete.
Gift of Marc Selwyn Fine Art, Los Angeles
Ropes, Days, Nights, Handles, Netting and Poem Variation, 2016
Painted braided rope,with glazed and bronzed ceramics
Hanging mixed media sculpture with painted braided rope; glazed and bronzed ceramic forms knotted throughout the work with saw like handles descending from the lower rung of knots.
Large pastel painting in pinks and purples with wrench-like forms in red at lower left which appear to be printed.
SBMA, A Year of Celebration, 1985
Smithsonian Resident Associate Program, 1975
American Painters of 50's, Pace Gallery