The Forum A Tribute to A. Quincy Jones
Atelier Mourlot, 115 Bank Street, New York,
Paul Jenkins: Palm Springs Desert Museum, 1981
New Mexico: B.H. Lawrence Festival
David Gilhooly, Covering the World with Frogs, 1981
GREIMAN, April and ODGERS, Jayme
Large chromogenic print of a Swiss landscape; a stream flows at lower foreground of image set against a Winter background of a mottled field of grass with cut logs, barren trees and grey sky.
Runway: Woman wearing a gown secured with a multiple button closure
Gelatin silver print of a centralized image of a female figure's back detailing a multiple button closure on her gown. Signed on reverse.
Given in Loving Memory of Pauline Milrad
Runway: Fashion show dressing room
Gelatin silver print of a fashion show dressing room; various figures moving around in different stages of dress. Signed on reverse.
Runway: Woman walking on a street, wearing pearls and an animal print coat
Gelatin silver print of a centralized female figure walking down a crowded steet wearing pearls and animal print coat; figure looks towards the left; signed on reverse.
Runway: Woman wearing a ball gown
Gelatin silver print of a centralized female figure being fitted into a gown while various figures make adjustments; signed on the reverse.
Veronika Kellndorfer is concerned with the physical and social construction of urban space and how she personally experiences it. She originally chose the medium of painting to express these themes but later switched to photography subsequently transforming her photographs into silk-screen prints on man-sized, reflective glass panels. This method of display offers the viewer different ways of experiencing the area photographed, as well as the location where the work is presented and their mutual interaction. In this work, the artist has photographed the Samuel Freeman House, designed by American architect Frank Lloyd Wright. Eighty years after construction Kellndorfer secures photographs of the living room of this former residence documenting the urban landscape of roadways and palm trees. (a) right panel, 43 1/4 x 28 1/4 x 14"; (b) left panel, 43 1/4 x 36 3/4 x 1/4"
Henry Hudson Robert Fulton Medal
The Pennsylvania Society-founded MDCCIXC picture of Wm. Penn
George R. White Medal of Honor duplicate of 69/149
The Century Association 1847-1947
The Pennsylvania Society-founded MSCCIXC picture of Wm. Penn
Andrew Carnegie MCMX for distinguished achievement
G.R. White Medal of Honor (Reverse-E.H. Wilson)
Internat'l Business Machines Corp. Honorary Award for a notable
"Souvenir de la grande guerre-dedie aux veterans francais en
For distinguised achievement-Andrew Carnegie
"They set great store by their gardens"
Aedes Sacrae Grolierensi (man sitting in library)
Cigar box housing 19 cabinet cards (a-s); each card includes a portrait whose facial features have been altered by the artist enclosed within a housing structure; most are signed on the reverse.
Gift of John Gothold and the Kohler Foundation, Inc.
Lowry paints over a calling card from an earlier era by including a red carnival mask on the protrait's face with a very long nose. Over her torso is the cut out of a corset for a child (so designated in Italian). The title comes from the photographic firm printed at the bottom of the image: Chesley, of Pipestone, Minn. Signed and dated on the lower right and on the back of frame.
Lowry paints over a calling card from an earlier era by adorning the female figure with black rhinestone glasses. A party hat is on her head. Her torso is painted over with a fly sporting human legs. Signed and dated at lower right and on the reverse.
Lowry paints over a calling card from an earlier era by adorning the female figure now adorned with a partial face mask and a crown.A rowboat is drawn at the bottom of the card. Signed and dated on the bottom right and on the reverse.
Constellation Series: "December"
Lowry collaged onto a blue constellation chart for the month of December the Roman Colosseum, and the print of a 18th century woman holding a red wheel in her hand. Signed and dated at lower right.
Constellation Series: Parliamentary Building
Lowry collages an image of a young girl from the late 19th Century, her head replaced by a large Parliamentary Building, extending out broadly on either side of her shoulders on top of a blue map of the constellations of April. She stands on a map of the Caspian Sea. At the bottom of the collage are various insects, fish, and reptiles each shown on their own banner. Signed and dated on the bottom right.
Constellation Series: Pisa with wings
On a blue constellation map for the month of June, Lowry collages the face and torso of a young girl in a foral bonnet from the late 19th Century, as well as a winged leaning tower of Pisa. There are two family banners on the left followed by a series of animals with their names in Italian.Signed and dated on the bottom right.
Constellation Series: "Southern Constellation"
A collage of a woman from a 1950's fashion magazine cut from a nautical map which is superimposed over a cart of the southern constellations. Her shape takes up the entire diameter of the area of focus. Behind her is a cutout of a woman of antiquity, and a free-floating oven gate. Along the bottom edge are a series of banners from royal Italian families. Signed and dated on the bottom right.
Flora and Fauna Illustration Series: Red Shapes
A hand drawn and partially collaged figure of a man with his torso seen as an ex-ray, and bones visible in his arms and legs, superimposed over a paper print of beetles and long-bodied insect illustrations. In and around the page are collaged objects including an old-fashioned camera, a single hand, and red shapes. Signed and dated at the lower right.
Flora and Fauna Illustration Series: Grasshoppers and Beetles
A hand drawn and partially collaged figure of a man in a small black square, empty frames around his head and torso, positioned over grasshopper and beetle illustrations. A strip with elaborate but obscured penmanship throughout the lower half including the bust of a woman in 19th Century dress. Signed and dated on the bottom right.
Flora and Fauna Illustration Series: Shells
A hand drawn and partially collaged figure of a woman, halo above her head, standing in a small square over a print of shell illustrations. A transparent page with a leaf study is added to the bottom left corner of the collage. Signed and dated on the lower right.
Flora and Fauna Illustration Series: Winged Insects
Collage of partially drawn figure of a man in a small black square, is collaged over a paper print of insect illustrations. A strip with elaborate penmanship at the bottom of the page reads, "yellow yellow yellow pest pest pest," referring to the illustrated insects. Signed and dated on the lower right.
Russian Renaissance Series; miscellaneous with trumpet
Image includes a collage of a trumpet, a tomato, flowers, bursting seeded fruit, a man's eye, a stock of corn and a small child. Signed and dated on the lower right.
Russian Renaissance Series: open building
A collage of the statue of a woman playing a lyre over an open building construction. Various unrelated objects float across the paper, including a foot, a key, a wheel, and a small doll. Signed and dated at the lower right.
Russian Renaissance Series; regal woman
A newspaper quality print of a regal woman from the Renaissance has a red hand collaged near her eye, and also the cutout of an observer, a well-dressed 19th Century woman, quite small in her scale, regarding her. Signed and dated on the lower right.
The assemblage is constructed inside of a four-legged box that has been turned upside down. The interior is lined with collaged maps. A small globe on a stick holds a playing card, and the black head of a small creature, undefinable, gazing in an opposite directions. A cutout of a fish on a small stand is at the bottom of the box. Signd and dated on the bottom.
The assemblage is constructed out of a box with a hinged cover. The edges of the exterior cover are covered in thorn. The interior cover is gray, and in the center is a circular transparent orb, the inside of which holds a small figure seemingly suspended in its interior. The interior of the box is rimmed with the same thorny edges. A decorated tin of Prince Albert tobacco is positioned off-center to the left. Below the tobacco tin is a small vignette of a girl in overalls holding a pail approaching the cage of an overized bird. Cacti cutouts are along the edges of the interior. Signed and dated on the backside.
Lowry utilizes doll parts mixed withe machine parts in this assemblage. The composite figure approaches a viewing station against a deep blue background the color of a night sky. The disk on the back wall is partially covered in a constellation chart. The assemblage is particularly effective because of Lowry's use of bold colors; in this case, red, yellow, and blue. Signed and dated on the backside.
The interior of this elaborately constructed and painted assemblage is dense. An arm constructed of wood and fabric hangs attached to a wire; the hand clutches a small bag with the image of a monkey on the side. The creature regards another small, sculpted monkey that is placed on the bottom edge of the box. A small doll with a white face is suspended in the interior, hands clutching the same wire as that supporting the arm. A silhouetted cutout of a woman is in the top left section of the box. Signed and dated on the reverse.
This mixed media work is from a series completed by the artist about a violent neighborhood tragedy. The panels are gilded, and the decorative elements are festive, but the message suggests otherwise. Next to the face of a young person are the words: "Ambush 5 shot." In and among the decorative elements is more text, that read: "THINGS JUST DON'T HAPPEN IN A PLACE LIKE THIS." Unsigned.
Journal #93 (Living A New Normal)
This journal page was completed one month after the attacks of 9/11. In it, Lowry uses 1950's advertising images of children in contrast to the horrors of that current moment. A boy and a girl reading is contrasted with four figures in hazmat suits on the left, and on the right a child's "toy" called a potato gun that shoots harmless potato pellets, collaged with renderings of explosions, and a clipped headline that reads "How Scared Should You Be?" Signed and dated below collage on mat.
This is Lowry's journal entry on 9/11, the day the United States was attacked by Middle Eastern Terrorists. It includes her own writing on the day, concentrating on her observation of the dust-covered, sepia toned woman in the photograph on the right side. Signed and dated below the collage on mat.
The background of the collage is a building under construction upon which is an image of the Virgin Mary steadying a young Jesus as he learns to walk. His steps take him up the side of the building. Signed and dated on reversed with a note that is was finished in 2008.
A print of "Grande Odalisque" by Jean Auguste Ingres is collaged over a series of famous columns, statues, buildings, churches and spires suggesting a new meaning provided by the nude's glaze. Signed and dated at the lower right.
Lowry uses the cover of a Life Magazine as the backdrop for the collage superimposing a sea map, and a large black crow over the body of Christ after he has been removed from his crucifixion. The wounds are visibile on his body but his face is obscured by the crow. Signed and dated on the lower right.
The collaged elements of this artwork include a woman in a red and black cowboy shirt and hat. She is superimposed on a patterned portion of a Saltillo blanket gesturing to a suburban home over her shoulder, with a white and yellow picket fence. The girl in the photo is the artist, who grew up in the Southwest. Signed and dated at lower right.
Lowry combines three black and white images; the dimly visible side of a cathedral and a massive well-lit skyscraper. The two images are intersected by an orb. Signed and dated on reverse.
Lowry juxtaposes two children's reading books in this collage with detailing the alphabet, introducing the letter A to Adam, whose fall from grace and inherent sin Christians believe we all share. Harsh words for the letter A! Next to it is the alphabet in upper and lower case inscribed on a paddle. Beneath it is a child's beginning reader with young Robert as the subject. The text is partially obscured by a disk. Both texts are joined vertically by the anatomical muscular schema of a man, whose lower half ends in some form of cephalopod. Signed and dated on the bottom right.
This untitled collage represents a 1950's sensibility, the time when the artist was a young girl, Lowry collages different elements: blue and white floral wallpaper, a wallpaper catalog ad and a woman modeling 1950s lingerie. Signed and dated at lower right.
Lowry uses cut-out and recombined images of antiquated machinery to form an ineffectual looking robot. The humor is in the title; in this case the assembled robot defies basic science. Signed and dated at lower right right.
Untitled (miniature pop-up book)
Janice Lowry had an appreciation for Surrealism which developed in Europe after World War I and is credited as part of Lowry's artmaking, updated and seen through the lens of a woman. The miniature mixed media book is complete with prints of altered body parts, insects and animals. The text is applied appearing backwards, not meant to be read. Unsigned.
This mixed media work joins others by the artist detailing a violent neighborhood tragedy; although the work(s) include gilded panels with decorative elements text is juxtaposed suggesting less than optimal circumstances. This includes the words "USUALLY," a "SHOT," while across the lower half the text reads "NEIGHBORHOOD" and in In the lower left corner is the drawn figure of a man pointing to the newspaper text, cut out in strips, applied to the surface and partially obscured by paint saying, in part: "...parking lot next to pier. It's usually a safe neighborhood...Newport Beach..." Unsigned.
This mixed media work, along with KFI #'s 146 and 326, is from a series done by the artist about a violent neighborhood tragedy. The panels are similar in that they are gilded, and the decorative elements are festive, but the message is grim. The top portion of this assemblage shows three repeated hands, each reaching forward. The newspaper text cut out in strips, applied to the surface and partially obscured by paint say, in part: "I never thought something like this would happen in Virginia...shocked...it happened other places but..." Unsigned.
Lowry uses a print of traditional Japanese dress from the Edo period on which to collage a teacup, the crossed legs of a woman, a red heart, and the face of a woman in sepia tones, her lips and eyes enhanced with color. A semi-circle near the crossed legs cut from an advertisement reads: "NOW ONLY." Unsigned.
Lowry collages an altered portrait from an earlier era by morphing the subject's face into unique shapes with only the eyes in original form; the mose and mouth come from other images; The remainder of the face and the center of the torso are obscured by early 20th Century machine parts. Signed and dated on the lower right.
Lowry collages an altered portrait from an earlier era by morphing the subject's face into unique shapes with only the eyes and nose remaining in original form; a cutout of a bird is on his shoulder.The subject sits in a chair with a book in his lap. A circular cutout of a bird rests on one arm; a strip of elaborate penmanship is at the bottom of the page and reads: "Beauty Beauty Beauty." Signed and dated at the lower right.
Lowry collages an altered portrait from an earlier era by morphing the subject's face into unique shapes with only the eyes and nose remaining in original form; a cutout of a bird is on his shoulder. Signed and dated at the lower right.
Thru collaging old factory machines to form the head and body, Lowry is able to form a robot, albeit an inefficient one which is superimposed over green and yellow patterned wallpaper. Signed and dated below the lower right, on mat.
Runway: Make-up application to a model
Runway: Woman wearing lace dress
Abstract watercolor drawing of a kitchen table with cooking instruments; included is a cooking whip and various jars situated on a table with a red tablecloth; signed and dated at lower right.
Metal-Mixed Tincans, Foil, Jarlids, Flatten
Type C Print Image of bins of cans placed beneath sign that reads "METAL-MIXED TIN CANS, FOIL JARLIDS FLATTEN." Signed on mat beneath image.
In loving memory of my mother, Marion Post Wolcott in recognition of her work and love for the Isla Vista community.
Door of Whale War Jeep, Mendocino, CA, '77
Cibographic print of a teal colored car door with a centralized graphic of a whale tail in red water with words STOP and "Mendocino Whale War". Signed and dated on the reverse.
Young male at gathering with small child sitting on figure's shoulders
Image includes a centralized male figure holding a metal pot with a child perched on his shoulders; multiple figures look on; signed on mat below the print.
Grafitti on side of student's pick up truck, Ft. Bragg, 1978
Enlarged image of the numbers 78 in silver on a rusty, damaged car surface. Signed and dated on the reverse.
Type C print of a red sign reading "Sip Our Suds Beer" with gold detailing positioned atop a metal barrel; signed on mat below the photograph.
Image of two men in wetsuits walk on the beach, holding surfboards. Signed on mat below print.
Image of clear, plastic bags leaning on each other, each filled with soda and beer cans. Signed on mat below the image.
Gathering of young men in Isla Vista playing music
Image of a group of men playing music; central figure is shirtless while playing the flute; male at right plays guitar and appears to sing; signed below photograph on mat.
Type C print of six crates of plastic milk bottles are stacked in two columns of three. Signed and dated on the reverse.
Image of a poster advertising a commemoration for the Isla Vista bank burning; other smaller posters tacked underneath. Signed beneath photograph on mat.
Beer + soft drink cans in Recycling Center, Isla Vista, Calif, 1976
Beer and soft drink cans piled together in a tied, clear plastic bag. Signed and dated on reverse/
Image of a woman in a swimsuit reclining in chair with her legs propped up; she holds an open book. Signed on the reverse.
Trader, Van Damme Beach, Calif.
Cibachrome image of a man leaning on side of truck with one hand on his hip and a beer in the other; gas tank next to additional beers are positioned to the right of the man.
Graffiti on side of building, Mendocino, CA, 1977
Cibachrome print of black and red graffiti on the side of building that reads, "DO IT IN YOUR OWN BACKYARD." Signed and dated on reverse.
Doug's Bugs, Volkswagen Service Station, Isla Vista, CA, 1975
Image of two Volkswagens parked in front of a mural that reads "Doug's Bugs," with imagery of flowers and a bug's anatomy. Signed and dated on reverse.
Sweet Potato Cafe, Isla Vista, CA
Type C Print of Sweet Potato Cafe's windows, painted with images of trees, suns, and butterflies; curtains visible behind windows. Signed on reverse.
Soft drink + beer cans behind fence, Recycling Center, Isla Vista, CA. 1976
Cibachrome print of a medley of cans and foil items behind fence; can shaped sign in front reads "Metal-Mixed Tin Cans, Foil Jarlids Flatten/Aluminum Cans Are Behind You!" Signed and dated on the reverse.
Image of two banners taped on top of a mural; top banner reads "Keep Isla Vista Free! Vote NO on Anexation"; bottom banner advertises for "Bank Burning Comemoration" to happen that night, bench sits underneath banners. Signed on the reverse.
Entrance to Ecology Action Center, black recycling barrels, Isla Vista, 1975
Type C image of black, labeled recycling bins grouped underneath Ecology Action sign; single white bin with smiling cartoon face stands between the black bins; glass drop-off area labeled on the left behind bins. Signed and dated on the reverse.
"VOTE" billboard, San Francisco, CA, 1978
Cibachrome print of a green car parked on street in front of a Chinese American Voters Education Committee billboard reading, "Make City Hall Respond, VOTE." Signed and dated on the reverse.
Trader's pick up truck, Van Damme Beach, Calif.
Cibachrome print of a tank of gas sits between beer cans atop ledge on the side of a blue truck. Signed on reverse.
"Uncle Sam," painting on side of building by Recycling Center
Image of recycling and trash bins with signs in front of yellow and brown mural of face with long, curly hair, a star on the forehead, and a cigarette with American flag detail between the lips. Signed on the reverse.
Display at Street Fair, T-shirts, Isla Vista, Calif. 1974
Type C print of tank tops with multi-colored graphics hanging on a drying rack; t-shirts hang on opposite side; one person stands on each side of the rack, visible only by their legs; signed and dated on reverse.
Cans at Recycling Center, Isla Vista, CA, '73
Image of a medley of cans and foil items piled behind fence; can shaped sign in front reads "Metal-Mixed Tin Cans, Foil Jarlids Flatten/Aluminum Cans Are Behind You!" Signed and dated on the back of the reverse.