This black and white print depicts a creature with an alligator-like open jaw with three sharp teeth. The creature takes up most of the image and appears to be floating in space. A black ground with a suggestion of a small plant appears at the lower edge of the composition.
173.99 x 129.54 x 3.81 cm (68 1/2 x 51 x 1 1/2 in.)
An image of a woman in the center, painted in red and pink with her mouth wide open and bright red short hair. The same woman is repeated throughout in the same colors, but mouths are shut. The background is very busy with brown and black swirls all over.
Portrait of a face with colorful markings. The face is of a dark complexion with bold, white sections that highlight raised features. There are also colorful lines that accent both the light and dark areas of the face.
This black and white photograph shows a portion of a woman's face against a solid black background. It is a close-up view of her right cheek, eye and eyebrow. She is gazing downward so the lashes and lid partially cover her eye.
This is the cover photograph for Ralph Gibson's book, "Infanta", (1995) that presented a group of his photographic studies of women. His abstraction of facial features against a blank black background reveals his formalist, yet sensual approach. "When I make a photograph, I move in closer and I take things away, and I take things away, until I get everything out the frame except what I want. Therefore my process is considered subtractive." [www.bermangraphics.com/press/ralphgibson.htm]
Square photograph with overall blue/black/white tones, except for full color in the center circle. In the middle there is a sphere stacked on a circle, stacked on a cube. The sphere has the image of an upside down eye, the circle a color image of a blue eye with heavy dark lashes, and the cube has an image of the eye, lid and brow. A pair of eyeglasses are placed in front of the cube so that the eye sits behind the lens. Behind the stacked objects is a large sheet of paper rolled into a conical shape.
In the late 1970s Kertész used a Polaroid SX-70 camera to photograph objects in his apartment that he had collected over the years. Some he positioned on his windowsill to capture the reflection of the sunlight outside, but In this photograph he has created a still-life arrangement with images of eyes and a set of eyeglasses set on the surface of a table. Kertész published a book of these photographs, "From My Window," in 1981.
This print, as the title indicates, portrays woodpeckers percehed on the side of a tree.
Kawano Kaoru is considered a member of the Creative Print (sôsaku hanga) movement, a group of artists dedicated to bringing individualism, experimentation, and autonomy to Japan’s centuries old ukiyo-e tradition. His works are often highly abstracted, using simple lines and shapes to depict the subject.
The print has a blue background. A girl is shown with blonde hair, red lips and a melancholy facial expression. She holds a microphone, opening her mouth and emitting a speech bubble saying, "The melody haunts my reverie." The artist applied the technique of Ben Day dots to depict her skins.
This ceiling boss features four faces with traces of paint that are arranged in a radial pattern with the crowns of their heads converging on a single, central point. Two of the faces are female, identifiable by the wimples worn on their heads, while the other two, wearing small pointed caps and sporting beards, are male. The symmetrical regularity of the piece is counterbalanced by subtle asymmetries introduced by differences in detail and the sequence of facial types.
This architectural boss decorated with four faces was originally placed in the crown of a ceiling vault at the point where the ribs of the vault met. The arrangement of the four faces would have reinforced the expansive radial pattern formed by the ribs while the boss itself would have simultaneously emphasized the center of the vault.
This is a black ink print on a cream colored background, filled with images of human heads.The upper portion contains a multitude of facial profiles with various features and expressions. At the bottom, there are seven men, depicted larger than the others and text at the bottom of the page identifying the figures on the left as "Characters" and the ones on the right as "Caricaturas". Between the fifth and sixth figures there is a simple line drawing of a face. Another line of text reads: " For a Farther Explanation of the Difference Betwixt Character and Caricatura See ye Preface to Jo. Andrews".
Hogarth created this print originally in 1743 as a receipt for advance orders of his "Marriage à la mode" series, but it was later issued as a print in its own right. He had been critcized as having portrayed figures in a an exaggered manner, like a caricature, and responded with this work as a comparison of "characters" versus "caricaturas". In the lower left area, Hogarth depicted characters from Raphael's tapestry cartoons with caricatures by Leonardo da Vinci, Annibale Carraci and a contemporary artist, Pier Leone Ghezzi, on the right. He also included a line drawing in this area to demonstrate the simple process for creating a caricature. The remaining area of the print is filled with faces with all manner of expression and appearance to show the subtlety of character portrayal. The text at the bottom refers to Henry Fielding's preface to the book, Joseph Andrews, published in 1742, in which Fielding had praised Hogarth as a comic history painter. " For a Farther Explanation of the Difference Betwixt Character and Caricatura See ye Preface to Jo. Andrews".
This is the title page for a portfolio of photographs, "Ralph Gibson, The Silver Edition - Volume I." Below the title line are five images of the black and white photographs contained in the portfolio.
This is a portfolio of photographs by Ralph Gibson created to celebrate the fiftieth anniversary of his photographic career. He is well-known for his balanced compositions with strong curves, shapes and lines and photographs published in book form.
"I have investigated a lot of ideas - I love taking pictures of nothing, of ordinary objects, maybe even just the corner of a room. I love flattening and even reducing things. When I photograph flesh, I like to make it look like a stone. But, when I am photographing a stone, I like to make it look alive. I love re-contextualizing the quality of my subjects."
Black line representation of a human head and face, facing the viewer. The head is oval-shaped with vertical parallel lines. The short hair of the person is represented by thick dots and fine curved lines. The nose is formed by straight, vertical lines. Eyebrows are drawn with thick, black lines. "We shall Overcome" is printed in a brown-orange ink across the top of the sheet.
Mixed media assemblage consisting of goggles, rusted sheets and pieces of metal, a padlock and two rusted bells hanging from a chain mounted on a wooden board with screws.
Created when Vargas was a student at U of M, “Michigan Worker” draws on the tradition of the found object and junk art, as well as a figurative tradition, which he evokes by using industrial materials representing the working class Michigan automotive worker.