Cote d'Ivoire, Baule people, Africa
Carved wood seated figure wearing a mask extending to the back of the head; figure is pulling on beard with both hands.
Cote d'Ivoire, Baule people
Mask with horn and facial scarification
Carved wood mask with facial scarification and two horns extending from top of head.
Mask with facial scarificaton and horns
Carved wood mask with facial scarification and small horns extending from upper left and right; a carved curvilinear crown extends across the top of the mask.
Mask with facial scarifications, braided hair and pointed horn
Carved wood mask with facial scarifications, braided hair and horn curled and pointed toward the face.
Mask with multiple facial scarifications
Carved wood mask with raised plaited hair and vertical facial scarfications thoughout cheeks.
Mask with plaited hair and facial scarifications
Wood facial mask with plaited hairand facial scarifications throughout cheeks.
Mask with plaited hair and facial scarification
Wood face mask with plaited hair and facial scarfication throughout checks.
Black painted wood face mask with black horns and red encircled eyes.
Red painted wood fask mask with black encircled eyes.
Burkina Faso, Mossi people
Female figure with scarifications
Wood female figure with scarifications; figure stands with arms at sides positioned downward and is attached to a painted black base.
Mask: painted wood with braided rope and fabric
Cap-like mask with painted wood and braided rope extending from lower edge; painted wood animal head positioned on top with striped horns.
Heavily polished carved wood mask with metal incrustrations; facial figure includes pointed chin, open mouth and metal hoop earrings.
Brass ancestral statue mounted on black stand; statue includes elongated figure with curvilinear headdress and small abbreviated female figures positioned around upper torso.
Oil on panel of a nude female lounging in a black chair; image is enclosed in a stark white shadow frame.
Oil on panel painting; portrait of a female chemotherapy patient revealing the loss of hair; image enclosed in a stark white shadow frame.
Fragment from the World Trade Center entryway, September 11, 2001
Marble fragment from the World Trade Center entryway, September 11, 2001 which was donated to the museum by Mikey Flowers. Working in conjunction with Kevin Clarke who has been creating “interpretive portraits,” since 1987, Clarke and Flowers completed DNA to Dust spontaneously photographing many scenes of the devastation.
Flowers, Mikey and Kevin Clarke
Dust to DNA: Recovery Specialiest Sheila Estacio
Digital inkjet print on mount with Plexiglas
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse, lower right title and artists' signature.
Dust to DNA: Firefighter Craig Carlsen
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse at lower right, title and maker identification.
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures.Reverse at lower right, title and maker names.
Dust to DNA: DNA Recovery Specialist Bianca Nazzaruolo 9/11
Dust to DNA: Detective Lt. Roger Perrino
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse lower right, title and artist's signature.
Dust to DNA: Brian Gestring, NYC Chief Medical Examiner's Office, DNA Recovery 9/11
Digital inkjet print on mount with Plexiglas 29 1/4 x 39 1/4" OVERALL
Kevin Clarke has been creating “interpretive portraits,” since 1987, combining colors and photographs that abstractly represent the individual and overlaid with the genetic code of his subjects. In this series Clarke partnered with florist and 9/11 Emergency Medical Technician volunteer, Mikey Flowers who assisted during the terrorist attacks and spontaneously photographed many scenes of the devastation. Clarke used those images as the backdrop, pairing them with DNA sequences (the series of letters visible on the image) from first responders who risked their lives to save others. By focusing on those who survived, Clarke pays tribute to their heroism and implies that even in the face of catastrophe, life and hope endures. Reverse at lower right, title and artist's signature.
Inkjet print which was one of fifteen works commissioned and used in the museum's exhibition Catherine Opie Photographs Cliff May. This exhibition augmented Carefree California and includes extant homes designed by Cliff May; this image details an enclosed painted gray wooden porch with two children.
Ceramic head with red slip; head is shipped into an animal form.
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
Incoming Loan, Los Angeles County Museum of Art Gift of Constance McCormick Fearing
Mexico, Central Veracruz, Remojades area
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
Grey ceramic whistle of a turtle with outstretched arms.
Caroline Tarbell Tupper Collection of Pre-Columbian Art
Mexico; Central Veracruz, Remojades area
Ceramic owl whistle; etched face and neck; hole at center front; 703 taped on reverse; missing owl's right arm.
Ceramic whistle of an elderly Olmec god; figure has an extended jaw line and single large ear spool; mouthpiece on rear with 491.
Mexico, Gulf Coast, Vera Cruz
Whistle: Male Figure with Simian Features
Whistle in form of male figure with Simian features, seated male figure with shield.
Gift of the Children of Barbara Bullard Storke
Ceramic whistle in the form of a frog; hole on top; mouthpiece at rear; 702 on underside.
Ceramic whistle of a dog's face; mouthpiece on underside; hole in back with 678 above it.
Ceramic clay whistle of a bird with outstretched arms.
Mexico, Costa Grande, San Luis de la Loma
Grey ceramic whistle in the form of a bird; outspread wings and head stretched upward.
Mexico, Colima
Pre-Columbian animal whistle; made from Ceramic.
Ceramic whistle; three legged figure with incised stomach. Mouthpiece at rear with 392 on foot.
clay pipe, fish scales or eel scales carved on stem
unusual dark grey clay, blue, orange traces of pigment
Whistle in form of Standing Figure
terracotta, traces of white and red pigment
brown clay with traces of black chapopote paint
buff clay, vestiges of paint, blue, orange, white
ruler on throne. Jaina style. 1/2 mold made: front side
zoomorphic figure with gouged slant eyes and mouth
Mexico, Costa Grande, Guerrero
Stone weight for casting nets. Ovoid shaped with grooves running lenghtwise to pointed end.
Miniature tripod vessel with face, remnants of blue paint on face.
Ceramic vessel of a tripod dome with an animal handle.
Heavy stone hand held tool with animal-like head with eyes and ears.
Mexico, Jalisco, Chapala
Ceramic vessel with three prongs and segregated edge. 736 on underside.
South Mexico, Ahuixotla, Huethueteotl
South Mexico, Ahuixotla
Flattened stone; carved temple on front side with figure standing at top of stairs between pillars; given its reduced size, temple was used for either symbolic purposes or utilitarian functions.
Mexico, Guerrero, Mezcala
Small vertical stone temple-like object; opening at center with raised and incised bands at top and bottom.
Gift of Bernadette Miller in Memory of Herbert S. Miller
Mexico, San Luis De La Loma, Costa Grande, Guerrero
stone weights, pegged shape with notches
cloudy white translucent stone, high center tapers to ends
.1) honey color with white flecks; .2) white with blue flecks, multifaceted
W. Mexico, Costa Grande?
West Mexico, Mezcala/Guerrero
pectoral? two holes through back of neck