Two abstracted bust-length figures, one male and one female, look directly at the viewer with large smiles against a tan background filled with swirling lines and scribbles. The face and eyes of each figure are outlined in thick green, the mouths in thick yellow. The “whites” of the eyes are red, while the pupils are circles of pale purple. From the eyes of the male figure, purple paint drips down his checks; in the female figure, the paint drips upwards.
In “Ups and Downs” two figures, one male and one female, confront the viewer with large smiles. The work gets its title from the purple “tears” that drip down the face of the male figure and upwards on the female figure.
Ceramic figure of a horse standing on a thin ceramic base, which a high-arched neck and a vertical head; large saddle with tassels; traces of orange-ochre, pink red and white pigments
The elegant, long-legged horses of Ferghana and Sogdia (ancient Central Asian kingdom in the region of modern Uzbekistan) were essential to the success of the Han armies over northern nomads. It became common for Chinese military officials to adorn their tombs with sculpted figures of both imported horses and their red-haired, bearded Sogdian grooms.
A wide-mouthed bowl narrows steeply to a small base. A brown and white checker board pattern covers the interior and exterior and scales down as the diameter decreases toward the bottom.
wood bowl with geometric patterning in concentric rings, decreasing in size top to bottom
Akbar’s Bounty illustrates Mode’s interest in the art of Mughal India. The flowing geometric pattern emulates Islamic design, and Mode took his inspiration for the title of the piece from the great Mughal emperor, Akbar, who was a prodigious patron of the arts.
An elongated figure with minimal features stands on a small rectangular base with left foot slightly forward. The metal has a texture resembling molten wax.
Giacomett's tall thin figures visualize the fragility and the resilience of the human body in the aftermath of the World Wars and the Holocaust. Influenced by Sartre and Existentialism, Giacometti wanted to visually express the metaphysical desolation and despair that Existentialism tried to recognize and address.
A canvas saturated in layered shades of muted browns, oranges, ochres, and yellows is crossed by lines, some dark some light, some on the surface, some buried beneath the surface color. A bold horizontal line cuts across about a quarter of the way from the bottom. On the right are several faint verticals. At the top two horizontal lines underlap and overlap with two diagonals.
Richard Diebenkorn's Ocean Park series is named after the neighborhood in Santa Monica, California where he had his studio. The subjects of the series are 1) an abstract consideration of color and form, 2) a treatment of the southern California landscape (the mellow subtleties of West Coast sunlight, the vast almost abstract appearance of the dry, open land), and 3) the painting process itself, which the artist makes visible to the viewer through the layers of paint.
Abstract painting. Orange (left), red (right) and pink (bottom) bands painted with a zigzag pattern frame an abstract image in the center painted with vigorous upward strokes.
“Spirituality and feeling are the basic subjects of my work. They are depictions of intuitive expressions using color as language, and the landscape (God’s earth) as a metaphor for the arena of life. The revelation of a primal image that delivers an immediate response in the viewer is my goal. Hopefully my paintings convey a felt perception of life, an awareness of the history of art, and a clear expression of my passion and sense of spirituality. I sense a visual music that externalizes what I feel within me and in the air.” Artist’s statement on website (http://www.ronnielandfield.com/)
An album of 28 pages. Cover is brown with a faded image at the center, possibly of leaves on an off-white background. The inside of the album primarily contains hand-written text, though some of the text has faded images in the background, and some of the pages are completely images. The first page depicts a seated man in formal attire. and across from him is a seperate painting of a landscape with green mountains. Other images contained within are of various topics with various colors and styles.
This twenty-seven leaf album contains letters, drafts of poems, and some sketches by Sakai Hôitsu. Many of the letters are addressed to his assistants, giving them detailed painting instructions, sometimes with sketches, and reminding them of their deadlines.
A landscape reduced to minimal abstract elements. The lower half of the painting is black. The upper half, various shades of white and blue. Two black squares are suspended in the white above the black. A small pale blue circle is between the squares.
One of Gottlieb's Imaginary Landscapes. The landscape reduced to basic conceptual elements, allowing the work to resonate between representation and pure minimalist abstraction. Interested in mythology, Carl Jung, and indigenous art, Gottlieb hoped to show "the emotional truth of the landscape."
A long, low rectangular with a painted band of green extends around the rectangle at floor level. The upper half is painted off-white. About three fourths of the length is uniform. The other quarter, at the viewer's right, has several features: two depressed areas, and two raised areas, which are painted in a brighter white.
Anne Truitt's painted minimalist sculpture incorporates two distinct themes: first, a formalistic approach to shape and the exploration of minimalist form and the relationship between color and form; second, a distinct subject matter -- here a sandcastle and the associated themes of play.
This painting portrays Saito Musashibo Benkei holding a halberd. Benkei was a Japanese warrior monk, a popular subject of Japanese folklore. Here the painting is accompanied by text, which became common on images with moralistic messages poking fun at society.
This painting is an example of Otsu-e, a type of folk painting originating not far from Kyoto in the present-day Shiga Prefecture towns of Otsu, Oiwake, and Otani. Otsu-e were produced with cheap local materials and stencils were used to facilitate mass production, making them affordable even to the lower classes.
By the latter half of the seventeenth century, Otsu-e became more secular. This humorous painting among other Otsu-e had strong popular appeal, and made their way into the art and literature of famous Edo period figures. Otsu-e with iconography associated with beneficial powers would later function as amulets.
Text: Team Work Wins! Your Work Here Makes Their Work Over There Possible - With Your Help They Are Invincible - Without It They Are Helpless - Whatever You Make, Machine Gun or Harness, Cartridges or Helmet, They Are Waiting For It. Issued By Authority Ordnance Department, U.S. Army
Within an elaborate decorative framework consisting of griffins, birds, dogs, and fantastic half man-half beast creatures is a central panel with the image of a nude woman standing on a column holding a victor's wreath in either hand. Approaching for either side is a man in a quadriga holding a banner; each also holds a line that extends up to the wreath in the woman's hand.
Such elaborate decorative works filled with fantastical motifs were inspired by the discovery around 1500 in Rome of Nero's Domus Aurea (Golden Palace), the interior of which was filled with similar elaborate wall paintings.
A vast surface of orange yields in the very bottom of the painting to a swath of yellow, under which there is a line of white and green, and under that a thin black line.
The subject matter of this Color Field painting is primarily the visual experience of the colors, their relationships to one another. With its title, "Sunset Corner," the painting prompts the viewer to reflect on the oranges and yellows of sunset and the vastness of the sky.
metal figural sculpture made of decommissioned AK-47s welded together
Vichet’s Apsara is a fierce and foreboding anti-war goddess constructed by welding together decommissioned AK-47s. She wears a crown, and stands on a heap of discarded guns, while breaking another gun in half with her bare hands. The sculpture was a part of the Peace of Art Project to promote a Cambodia without weapons.
Codex book connected by a series of eight accordian folds composed of lithographs, woodcuts, chine collé, and collage. The work reads right to left with the rightmost page titled "UtopianCannibal.org" and the leftmost page with the single word "Fin" (translates to "end").
From a series of codex books Enrique Chagoya began making in the 1990s. The work contains a variety of images taken from Western culture such as cartoon characters, dollar bills, Barbie, and Sambo; removing them from their original context and juxtaposing alongside art historical images as well as traditional & religious imagery from his native Mexico. Chagoya calls this approach "reverse anthropology" in the way he cannibalizes material from a wide range of sources and creates new stories and commentaries on European colonization and the appropriation and misrepresentation of indigenous cultures.
A bronze image of a dancing figure, cast in the cire perdue (lost wax) technique in one piece with its lotus-petal base.
Tentatively identified as a dakini, a "sky walker": a popular type of goddess in Tibetan Buddhism. Dakinis are shown naked, and as in this image, usually wear a garland of skulls and carry a skull cup. In this example the goddess holds a vajra ("thunderbolt," a ritual scepter) in her upraised right hand, rather than the more usual chopper. She sways in a dance pose, bending her right knee and balancing precariously on her right foot—which crushes a tiny figure underneath. She is nakekd apart from jewelry and a long garland of skulls. The symbolism for such images is complex, but broadly speaking, dakinis represesnt the spontaneous energy of the mind stripped of delusion and defilements.