Untitled, 2025 Archival inkjet print
Centralized image of Lorenza Perez and Juan Perez Munoz standing on the grass with the UCSB lagoon as backdrop. The subjects are enclosed by foliage with the woman placing her left hand on the man's shoulder as he stands with his arms at his sides.The woman is dressed in a long, dark, floral dress and black shoes while the man wears a blue dress shirt, dark jeans, and brown shoes.
Christopher Juarez Alvarado and Aaliyah Janette Quinonez stand against the UCSB lagoon backdrop enclosed by foliage Both are dressed in white, with the male subject wearing a white button up shirt, black slacks, and black sneakers while the female subject wears a long white skirt and blouse with red sneakers.
Untitled, 1962 Collage
Collage of cream colored coated paper and swirls of black indian ink and pencil. Paper is torn and rearranged creating a silhouetted black and white image.
Gift of Regina Cherry, Estate of Herman Cherry
Collage of cream colored coated paper and swirls of black indian ink and pencil. Paper is torn and rearranged creating a silhouetted image of four vertical hill-shapes to the right, with more sporadic shapes reflected on the left.
The Boxing Portfolio, 1989 to 1996, Tyson-Ruddock Fight, Las Vega, NV, March 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. 55 Robed lone boxer stands at center of image surrounded by various firgures. Signed, date, with AP and title on reverse.
Fink, Larry b. United States, 1941-2023
The Yanover Family Trust in memory of Pauline Milrad
The Boxing Portfolio, 1989 - 1996, Blue Horizon, Philadelphia, PA, March 1989
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. American boxer in robe standing about to enter the ring. Signed, dated, titled with AP on reverse.
The Boxing Portfolio, 1989 - 1996, Champs Gym, Philadelphia, PA, January 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image includes a lone boxer huddling into himself against the ring; his hands are wrapped in Ace bandages.
FINK, LARRY b. United States, 1941-2023
The Boxing Portfolio, 1989 to 1996, Champs Gym, Philadelphia, PA, February 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image of lone boxer hitting a punching bag at Champs Gym in Philiadelphia.
FINK, Larry b. United States, 1941-2023
The Boxing Portfolio, 1989 to 1996, State Theater, Easton, PA, February 1994
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; image includes a figure standing with back towards the audience leaning into a boxing ring cropped on right side.
The Boxing Portfolio, 1989 - 1996, Champs Gym, Philadelphia, PA February 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image includes an elderly male standing on the right leaning against a boxing ring which is positioned at the center; his back is turned towards viewer. Identified as Champs Gym in Philadelphia; signed, dated, with AP on reverse with title.
The Boxing Portfolio, 1989 to1996, Blue Horizon, Philadelphia, PA January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Image includes an older man probably a coach touching a younger African American boxer on the chest; signed, dated, titled wtih AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1990
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. it closed its doors in 2010 due to financial hardships.Elderly male figure postioned at center with a man in a Tony Dynamite Green shirt at left.
The Boxing Portfolio, 1989 - 1996, Larry Holmes Gym, Easton, PA, January 1992
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image of Larry Holmes in his private gym in Easton, PA, January 1992.
The Boxing Portfolio, 1989 to 199, Blue Horizon, Philadelpia, PA, January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. This image includes a group of African Americans in prayer.
The Boxing Portfolio, 1989 to 1996, Tyson-Ruddock Fight, Las Vegas, NV, March 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. This image includes a robed Donovan Rudduock at the Tyson-Ruddock Fight in Las Vegas, Nevada, 1991.
FINK, Larry 1989-1996
The Boxing Portfolio, 1989 to 1996, Philadelphia, PA, January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However it closed its doors in 2010 due to financial hardships.This images includes an overhead image of a boxing ring with a "ring girl" holding a Round 8 sign. Signed, dated, AP with titled, written on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1992
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However it closed its doors in 2010 due to financial hardships. This image details an actual boxing match between two participants.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1989
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, PA, the Blue Horizon Arena was known as the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. This image includes a referee standing in the ring leaning on the ring ropes. Signed, dated, titled with AP on reverse.
The Boxing Portfolio, 1989 to 1996, Ring Girls, Madison Square Garden, NY, May 1996
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; image includes the legs of a "ring girl", an attractive young woman hired to enter the ring between rounds carrying a sign displaying the number of the next round. Ring girls are often seen in boxing, kickboxing and mixed martial arts. Signed, dated, with title and AP on reverse.
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Photographed at the State Theater in Easton, PA, a boxer stands in the corner of a ring looking inward. Signed, dated with title and AP on reverse.
The Boxing Portfolio, 1989 to 1996, Silky Smooth, Blue Horiazon, Philadelphia, PA, January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Image includes an African Amercan portrait identified as Silky Smooth; Signed, dated with title, AP on reverse
The Boxing Portfolio, 1989 to 1996, Champs Gym, Philadelphia, PA, January 1993
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Image taken at Champs Gym and details the calves of a boxer. Signed, dated, titled with AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. An unidentified boxer stands at center wearing a short robe; he is wearing gloves and are placed on the shoulders of a figure facing him. Signed, dated with title and AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, October 1994
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996, in this image. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the best and largest venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Image details a lone boxer standing at the center wearing a sleevless hoodie flanked by various figures. Dated with title and AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadelphia, PA, January 1991
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; Located in Philadelphia, many of Fink's images are taken at the Blue Horizon purported to be the largest and best areana by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships; African American boxer standing and wearing gloves facing right.
The Boxing Portfolio, 1989 to 1996, Blue Horizon, Philadlephia, PA, November 1996
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships; this images includes a boxer stepping thru boxing ring ropes; a man is standing to his right wearing a jacket with 91. Signed, dated, title with AP on reverse.
The Boxing Portfolio, 1989 to 1996, Blue Horizaon, Philadelphia, PA, October 1994
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. This black and white image details a view of a boxer looking out over the ring ropes; signed, dated, title with AP on reverse.
The Boxing Portfolio, 1989 to1996, Blue Horizon, Philadelphia, PA, July 1
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996; Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. Illustrated is an image of a boxer with a punching bag; his back is turned towards viewer. Signed, dated with title and AP written on reverse.
The Boxing Portfolio, 1989 to1996, Blue Horizon, Philadelphia, PA, October 1992
Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. Located in Philadelphia, many of Fink's images are taken at the Blue Horizon Arena purported to be the largest and best venue by Sports Illustrated and Ring Magazine. However, it closed its doors in 2010 due to financial hardships. In this image, Fink has captured a lone boxer wearing a robe with the words AWESOME. Written on reverse of print is the title, date, signature and AP.
MARTINEZ DE HOYOS, Ricardo
Untitled, ca. 1960 Gouache and pencil on paper
Small landscape painting sketch with a green background which melds into the gray sky; a dark hill cresting through the middle of the image. Exposed, unpainted, tan paper serves as the foreground. Illegible text written in pencil at the bottom of the object. "Un ------ Rudin de Rancho Man---og." Acquisition documents list this work as "signed for Mrs. Gloria Rubin."
Lee Mirrer, Trustee of the Gloria Rubin Revocable Trust
Le Mujer in el Rio, 1959 Oil on canvas
Oil painting in blue-gray tones illustrating a woman in three-fourths bust view seated and glancing over her shoulder to the viewer. Figure's body is round, soft, and abstract; face is tender and contrasts the rest of the artwork with its sharper, more defined features. Blue background and grey foreground blend together, creating a fuzzy, dreamlike space; signed and date lower left.
Desnudo, ca. 1960-70s Oil on canvas
This painting was completed during Martinez de Hoyo's "mature" era which is characterized by large scale paintings that convey a sense of universality as inspired by pre-Hispanic sculptures. This work is oriented in a horizontal composition depicting a woman laying on her stomach with arms crossed under her head; signed at lower right.
Oil on linen painting with broad vertical brushstrokes in cool blues and grays; title, signature, date and dimensions handwritten on reverse.
FISHMAN, Louise b. United States, 1939-2021
African, Nigeria, Benin Kingdom
Head of an Oba, 1900-1950 Copper alloy 13 1/4 h. x 12" dia.
Copper alloy head of an Oba, or King of Benin, wearing a cross-hatched cap and layered strings of coral beads along the neck with a wide-eyed expression, round cheeks, horizontal nose, and rendered lips. Research reveals that members of the Benin Guild of bronzecasters who formerly worked only for Benin Kings began to produce bronze heads for other audiences after the 1897 invasion. Since these were descendants of the same guild that produced the Benin bronzes in the 1897 loot, their products cannot be easily classfied as "inauthentic."
Silkscreen in gold frame. Geometric forms on red background. Two, thick yellow vertical lines situated perpendicular to a blue rectangular shape. A transparent, black circle covers a portion of the composition. Signed with bayer 71/17 in lower right corner of image. Label on reverse side includes untitled silkscreen, acrylic on canvas 1971/17, susan rose and allan ghitterman collection.
Silkscreen with acrylic and gouache on paper
Silkscreen in gold frame. Abstract forms on red background. Geometric square in top center-right hovers above organic shape at bottom center-left. Primary and secondary colors interspersed throughout. Signed with bayer 80/9 in the lower right corner of the image. Opposites 1 written in the lower left corner and 13 x13" acrylic 1980/9 written in the lower right corner. Label on reverse side includes opposites 1, silkscreen, acrylic on paper 1980/9, susan rose and allan ghitterman collection.
Silkscreen in gold frame. Abstract shapes overlapping on a blue background. The shapes include vibrant primary and secondary colors. Signed in the lower right corner of the image with bayer 1973/100. Fall geometry is written at the lower left corner of the image, 20 x 20" acrylic and 1973/100 written at the lower right below the signature. Label with fall geometry, silkscreen, acrylic on paper 1973/100, susan rose and allan ghitterman collection located on reverse side.
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. The box has been reoriented into an upright position with the interior acting as the face, with the lid acting as an overhang. The interior hosts a a small figurine of a woman wearing a black suit, black boots, and a black mask with cat ears. She has bright, yellow hair and is posed with her hands on her hips and facing out defiantly.
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. Mass of polyuretunic foam painted with warm-toned colors erupts from the interior of the box warping the sides and lid.
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.The original box is sealed and painted, with the sides depicting a fleet of puffy clouds spreading across the bright-blue sky. The lid of the box has the image of two windows beginning to open towards the cloud, and in the clearing a red apple dangles from a rope. The original box is completely sealed in a translucent, plastic pyramid, accompanied by a small, single pearlescent shell that shares the same space.
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. The exterior of the box is a tin cookie container with Disney characters in bold colors printed on the lid. Interior of the box is a bed of fluffy tufts of fabric with a centralized rock.
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. Exterior of the box is covered in colorful tiger stripes whIth a metal emblem of a tiger resting on the lid.
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. Abstract sculpture emerges from the box, pushing the lid to the side as a mass of colorful wax erupts from the interior and consumes the outside.
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. Foam bricks surround the wooden box and are carved and painted to resemble the texture and appearance of the earth. A variety of yellow flowers blossom from the ground and surround a sunken grave with a gray, burnt tombstone being reclaimed by the soil. The chasm in the center hosts rods of iron and spikes pointing upwards to symbolize how "death is always near by," but "flowers still live and rise above all."
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. The box is tilted to the side being elevated by the wooden lid that rests underneath. Woven textiles of black and purple threads are draped inside the box spilling out, cushioning a small colLection of film rolls and dried rose buds. Burned pieces of paper with writing are adhered onto the textile in the interior of the 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. Exterior of the box is painted silver and the front panel is stained brown, with an expressive face with glossy eyes staring out. The top of the box is decorated with a braid tied at the end with a red ribbon, and the lid is nailed shut. Nguyen Thi cites an ancient Vietnamese saying as inspiration for her work: "It is easy to know a man from his appearance, but difficult to recognize his thinking."
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. The artist used wood sticks and dried leaves to represent a thatch-roofed cottage. Cottages are features of the Vietnamese countryside, and this one is meant to be representative of the cottage images we think of when we get home sick.
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. A couple is sealed into the box similiar to a coffin, made visible through a clear piece of plastic. Exterior of the box is painted yellow with red Vietnamese symbols with various objects including incense sticks, wax, wire, and natural fibers. Hog describes the work as a coffin that forever captures the love two people may share with one another, even if they are unable to be together due to the societal pressures that forces them to be apart.
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. Exterior sides of the box highlight colors representing different aspects of nature: sunlight, wind, water, wood and earth. The lid includes a dark, stormy scene with a conch shell and an eyeball appearing in the clouds staring at the viewer. Inside the box is a scroll of painted paper with repeated imagery of the sun and a hand setting/rising from the horizon line between the blue ocean and purple clouds. Across the scroll are words to be read from left to right on the top and bottom of the scroll.
Wonder Bread, (Blue Dots), 1993 Mixed media
In 1980, Michael Gonzalez enrolled in the California Institute for the Arts (CalArts) at the age of 26, when his artistic references stemmed from comic books and custom cars. Influenced by visual culture, his works critique the glossy aesthetics of optical art, minimalism, and geometric abstraction through everyday materials, in turn raising timely questions about consumption and discarded material culture. This 1990s series exemplifies that approach: Gonzalez manually deconstructs the Wonder brand’s brightly colored bread packaging and presses it in plexiglass to create provocative compositions. Throughout the Wonder series, the ubiquitous logo is rendered as a pattern. The depth, created not only by layers of plexiglass but also by Gonzalez's hypnotic play with dimension, appears to extend toward infinity. In one work, the Wonder logo plunges toward the bottom of the transparent canvas into a seemingly haphazard mess of colored circles, typography, and white rectangles, with the gallery wall occupying the negative space. In another, Wonder’s branding is reduced to a geometric abstraction, as Gonzalez takes advantage of the blue circles' ready-made transparency.
Gift from Thomas Solomon and Kimberly Mascola
Wonder Bread, 1996 Mixed media
Untitled (Ten people Ten Books), 1994 Cloth bound accordion fold out in velum
Yellow-green cloth bound accordion fold out in velum; vibrant pages within displaying geometric shapes.
Mixed media collage on paper with two brown forms and cut paper tufts of hair extending from a green ground. On reverse: RUDY BUST, 10-30-99
There is Nothing I Can Do, 1999
Mixed media collage with a bright green strip situated horizontally with three wooden sticks extending vertically. Brownish organic textured shape near upper portion of composition. THERE IS NOTHING I CAN written above green strip; On reverse: Rudy Bust, 10-30-99
Mixed media collage on paper with a textured dark brown figurative animal with hair positioned vertically with a small, plastic bag of silver glitter. OK I LOVE YOU written in gold pen; on reverse: Rudy Bust, 10-30-99
Pencil on paper drawing of woman outfitted in ornate dress and accessories; table with an open drawer is detailed at lower right and a small dog at lower left. Tres van loo in lower left corner beneath image with artist signature and 3/01 in lower right corner. On reverse: picture frame label.
Voynich bontanical Studies, Specimen 20v, 2012
Gelatin silver print of a flowering plant; its roots are detailed at lower half of print; housed in a white mat and frame. On reverse is a gallery label.
Oil crayon on paper with various colors assorted in different lines and shapes. Green gesture at upper left and lower right with Korean characters at lower left; signed and dated at lower right. Left side of paper is blank.
Oil crayon drawing on paper with an abstracted musical score in organge and grey enclosed by a row of green pointed forest-like lines and blue markings. Signed and dated at lower left with numbers: 600, 115, 350, 865, 150, 1015 printed on reverse.
String and paint on board detailing an off-white background with knotted fragments. Knots spaced apart situated in various directions. On reverse: WHITE KNOT PAINTING ROBERT LEVINE 90.
Transport, Storage, Weighting & Transfer, 1983
Acrylic on canvas painting with irregular brushstrokes and abstracted forms in green, greys and blue. Small area of vibrant green at the right lower edge. On reverse: Holly Solomon gallery LABEL.
Poster with white background and black-and-white photographs depicting architectural structures. Text at lower left corner with artist's signature.
Ink on paper line drawing with triangles, rectangles and squares shapes throughout upper half of image. QMC-171 on reverse.
Wall hanging of acrylic on cut mixed fabric panels in brown, beige and greyish blue with diamnond shaped cuts outlined in blue paint. Kim Macconnel written on reverse.
On the Ground Material Drawings 7 (with the Lavendar Mist/Pollock Film), 2011
Spraypaint, nail polish, jimson weed seeds on paper
Mixed media collage on paper with geyscale printing that displays film rolls laid diagonally across the surface. Tiny splatters of yellow, pink, white, and blue paint throughout. Address label on reverse.
Transcending Grid with Opening (white) #1, 2016
Encaustic paint and linen yarn on walnut panel
Encaustic paint and linen yarn on walnut panel with centralized hollowed square. Various sized strings of yarn extend from panel.
marian chase room (with fire) 11:34 pm 2/14/01, 2001
Ink on paper drawing. Overlapping lines in circular formation in center of artwork. marian chase room (with fire) 11:34 pm 2/14/01.
Gift of Steve and Sari Roden Family Trust
north sleeping porch 12:33 am 2/15/01, 2001
Pen on paper. Overlapping lines in circular formation in center of artwork. north sleeping porch 12:33 am 2/15/01.
Ink on paper drawing. Overlapping lines in circular formation in center of artwork. clyde chase room 11:44 pm 2/14/01.
Ink on paper line drawing of multiple forms drawn in circular formation, condensed in center of composition. Front Garden 6:50 am 2/15/01.
Front Garden/Patio 7:53 am, 2001
Ink on paper line drawing of multiple forms drawn in circular formation, condensed in center of composition. Front Garden/Patio 7:53 am at lower left, 2/15/01 at lower right
marian chase room (with fire) 12:48 am 2/15/01, 2001
Ink on paper line drawing of multiple forms drawn in circular formation, condensed in center of composition. marian chase room (with fire) 12:48am at lower left, 2/15/01 at lower right
Ink on paper line drawing of multiple forms drawn in circular formation condensed in center of composition. rm schindler room 7:21 am at lower left, 2/15/01 at lower right.
pauline schindler room 9:28 pm 2/14/01, 2001
Ink on paper line drawing of multiple forms drawn in circular formation, condensed in center of composition; pauline schindler room 9:28pm at lower left, 2/14/01 at lower right.
Ink on paper line drawing of multiple forms drawn in circular formation condensed in center of composition; rm schindler room 8:00am displayed at lower left, 2/15/01 at lower right.
Ink on paper line drawing of multiple forms drawn in circular formation condensed in center of composition. rm schindler room 7:55pm in lower left corner, 2/14/01 in lower right.
Paint on paper drawing with geometric lines and forms at center: Black, green, red, orange, and yellow painted lines with black paint situated in center against white ground.
Pencil, ink, and paint on paper drawing with density of lines at lower center-bottom of composition. Black paint splattered on pencil with splatters of green and black paint throughout. Purple, yellow, and blue interspersed through artwork. 6-7am in lower left corner. On reverse: 2003, eyes closed listening
Oil and polyurethane on linen painting in light grey with light green shapes throughout accented in red; Lower-case letters displayed within those shapes. StripEs of shades of green situated at lower left corner. On reverse: sleepwalker (ophelia and the absence of language); Email Java commands; rimbaud - Ophelia; 33 Chicago World's Fair block house; 1999-2000 Steve Roden
Oil and polyurethane on linen painting with grey background, geometric form at center--detailed in black, yellow, pink, green, orange, and blue. Light yellow capital letters scattered over lower half of canvas. Five orange shapes situated around letters. Written on reverse side: kabuki in a rectangle; katsura rikyu; kasuga mandala; rakushisha Haikus
Oil and polyurethane on linen painting with a black organic shape and white and yellow squares positioned on a blue-grey background. Capital letters with white outlined paint dot the canvas with green paint at lower right of canvas. Written on reverse: fifteen planes; Paul Clardell - 5 grand odes (pg. 15); kinka kuj: Temple Map; 2000 Steve Roden; artist signature
one soul walks alone, 1999-2000
Oil and polyurethane on linen painting with sections of green, blue, and red on a red ground; connected letters situated at upper right of canvas;. written on reverse: one soul walks alone; kepes book cover; map of nevers hotels; map of Philadelphia parks
Oil and polyurethane on linen painting. Various shades and thick brushtrokes of yellow displayed throughout canvas with a light yellow amorphous shape at left. OTEVANSEO and VRAWLMPTEERES detailed at center; Two hexagonal shapes at left. On reverse: the golden bird is often side (for J.C., A.C., & r.b.); list of all names of US satellites cornell collage; steve roden 1999/2000 artist signature.
Mixed media on canvas painting with triangular form in center with grey-scale image of a rock enclosed by green, purple, and orange throughout artwork. Geometric grid on left and right; reverse: "space" 2020; gallery label
Ink, watercolor, acrylic and pencil on paper
Mixed media on paper with black geometric forms displayed in lower half with multi-colored forms throughout upper half. On reverse 2009, Roden; Stone's Throw 33 x 30 (beams/seams/streams)
spining straw into straw 7, 2015
Acrylic on canvas with black, diagonal stripe from upper left corner to lower right accented in pink, orange, and yellow layered on white paint. Steve Roden 2015 on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 6, 2015
Acrylic on canvas with thick stripes of black, blue, green, pink, and yellow overlapping throughout positioned against a thickly, painted white ground. Steve Roden 2015 printed on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 5, 2015
Acrylic on canvas with black stripes overlapping throughout, accented with pink and orange and layered on white ground. Steve Roden 2015 printed on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 4, 2015
Acrylic on canvas with four thick stripes of black, orange, and pink. Two stripes cross diagonally from lower left to upper right. Steve Roden 2015 printed on upper reverse. spinning straw into straw on lower reverse.
spining straw into straw 3, 2015
Acrylic on canvas with thick, geometric stripes of black, pink, green and neon orange crisscrossing throughout with white background. Steve Roden 2015 printed on upper reverse; spinning straw into straw on lower reverse.
spining straw into straw 2, 2015
Acrylic on canvas with thick stripes overlapping in "v" formations; pink, orange, and green accents throughout.; white background painted on black base
Vertical oil on canvas painting with diamond shaped forms with text painted against a blue ground.
KATIE, Tim and KING, Audrey
Untitled, 2001 Mixed media
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. The artists paint the box white and fill it with small scrolls that spill out. The box is set against a large black panel. A white veil and words spill from the box. Artist signatures on reverse.
KATIE, TIM and KING, Audrey
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. The artist paints the box green and adds the recycling symbol to the exterior to create the appearence of a recyling bin. The interior of the box is filled with scraps of plastic and a cut out of a minature Coca Cola bottle. Artist's signature on bottom.
PAPPAS, Carolyn and MARAKOVICH, Michael
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. The artists wrapped the box in Coca Cola tins and placed it in a larger plastic soda bottle via a cutout. The box and other blue cutouts are placed on a layer of sand. Artist signatures on the reverse.
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. Artist has created a model airplane around the box using Coca Cola boxes and red and white paint. A small human figure sits in the pilots seat. Artist's signature on plane wing.
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. Artist has painted the box red and stood it upright. The lid acts as a door to a refrigerator with the Coca Cola logo pasted on it. Artist's signature at bottom.
FERGUSON, Kelsey and STUART, Robert
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. The dual artist team of Ferguson and Stuart have created a wind chime from their box. Suspended upside down attached to a cone-like sturcture, the blue box holds a glass bottle of coke with wind chimes.
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. Artist has painted the box black and stood it upright; two doors open and inside are metal cut outs from tin with a gem in the center. Atop is a metal seated female figure wearing a crown of tin. Artist's signature at bottom.
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. The artist painted the box white and added abstracted red human figures to the sides and cut outs of words on the top. Artist's signature on bottom.