An abstract painting in greys, whites and blacks. On the upper portion is a large white circle and a large rounded object below. Black lines like a tree are going vertically up the painting from both ends, with white dots and smaller black lines in the center of the circle.
Though the dense tattoo-like pattern that overwhelms the field is abstract, one can discern some recognizable imagery through the random hatch marks, such as the female nude at center. One reviewer described the effect as expressive of “a back-of-the-mind fear we all can identify with sometimes.” (Kimberly Fine, “Joseph Nechvatal and the Lower East Side,” East Village Eye, 15 Oct 1983)
Black chalk drawing with white highlights on a brown colored background. Four female figures, dressed in classical style drapery, standing in various poses playing a tamborine. One (small) with arms down at her side; one (medium) in profile, with arms outstretched; and two large figures, facing front, showing the motions of hitting the tamborine.
This is a preparatory drawing of female figures in classical drapery playing tamborines for Leighton's frieze oil painting depicting "The Dance". This work and its companion painting, "Music" were commissioned as decorations for J. Stewart Hodgson's drawing room at No. 1, South Andley Street, London. Like Albert Moore, Leighton often depicted classically draped figures.
Bust-length self-portrait with housegable visible at left.
One in a series of self-portraits Beckmann produced between 1918 and 1923 in which he explored a variety of guises and demeanors all intended to be reflective of what he considered the emotion and theatricality of life. Here we see Beckmann's use of the hard lines of the drypoint in the pursed lips, stern gaze, and direct frontal pose reflective of his stoic demeanor at the end of World War I.
A circle of festival-goers dances under a full moon. They only appear in silhouette, but the shapes of their kimono and fans in hand can be seen.
Takahashi Hiroaki worked with the prolific twentieth century publisher of woodblock prints Watanabe Shozaburo (1885-1962). Takahashi was trained in Nihonga, or Japanese painting, and dedicated much of his time to paintings for exhibitions and illustrations for scientific publications. His nostalgic “Old Japan” imagery was highly sought after by collectors in Europe and North America. Takahashi’s work attempts to capture the essence of cultural events and everyday life. The people in this print are doing a special dance for the summer bon festival, a festival of the dead.
Can of Campbell’s Pepper Pot Soup with Andy Warhol’s signature in black felt-tip pen on lower left front of can.
The presence of Warhol’s signature on a genuine, seemingly banal, can of Campbell’s Pepper Pot soup elevates the piece and gives it credibility as a work of art, while paying homage to his infamous Campbell’s soup silk-screens.
Portrait of a woman with dark hair and fair skin seated in a chair wearing a blue dress amid a sparse background of blues, greens, and browns; her body is positioned at an angle towards the right, while she looks directly out at the viewer.
This work is typical of many of Dewing’s paintings, depicting young, fine-boned, elegant women wearing the highest fashions of the day amid a sparse background and executed in muted tones of blues and grays lending to the overall mood of the piece. The painting is a portrait of Miss Minnie Clark, a 28-year-old working-class, Irish immigrant, who worked as an artist’s model in turn-of-the-century New York. She was in reasonable demand, and was considered to be very beautiful and the picture of youthful vigor, but in reality she was in poor health and could not afford the medicines she needed. She was a widow, and she modeled because she had no other skills with which to support her two children. Eventually Minnie married an architect and vanished into the American middle class.
Diptych of two square sheets of paper printed with words and lines. Left: Four lines along the diagonal divide the sheet into four triangles. The lines do not intersect in the middle, and stop just short of the corner of the paper. On each line are two words, one right side up, the other upside down. The “pairs” are (from center out, clockwise from top left): inner/ most; obtain/ clarity; come/ startle; replace/ toward. Right: A square is printed just inside the edges of the sheet. On each line are two words, one right side up, the other upside down. The “pairs” are (from top, left to right): lure/ handle; never/ given; random/ roam; diminish/ scale.
Robert Barry was among the first wave of conceptual artists of the 1960s and early 1970s who made art that was primarily text- and language-based rather than the traditional pictorial orientation of the visual arts. Barry chose combinations of words that seem to be related in some way. For example “obtain/ clarity” could read as a sentence, and although “come/ startle” seems to be of a similar construction, does not work like the first pair. As Anne Rorimer explained, “Words are used in Barry’s artwork to evoke the notion of open-ended space and open-ended meaning.... [T]he viewer is left free to bring their own meaning to the work. But the works also invite participation, allowing viewers to flex their imagination.” (cited in Benjamin Genocchio, “A Career Built on Exploring the Boundaries of Art,” NY Times, 30 Nov 2003)
Transfer type on square sheet of paper. Four lines divide the sheet into quadrants. The lines do not intersect in the middle, and stop just short of the edge of the paper. On each line are two words, one right side up, the other upside down. The “pairs” are (from center out, clockwise from top): aged/ fair; mess/ change; lovely/ private; trap/ hope.
Robert Barry was among the first wave of conceptual artists of the 1960s and early 1970s who made art that was primarily text- and language-based rather than the traditional pictorial orientation of the visual arts. Barry chose combinations of words that seem to be related in some way. For example “aged/ fair” might suggest to the viewer that they are opposing terms, but on second thought, although there is a vague associational relationship between the two words, they are not antonyms. As Anne Rorimer explained, “Words are used in Barry’s artwork to evoke the notion of open-ended space and open-ended meaning.... [T]he viewer is left free to bring their own meaning to the work. But the works also invite participation, allowing viewers to flex their imagination.” (cited in Benjamin Genocchio, “A Career Built on Exploring the Boundaries of Art,” NY Times, 30 Nov 2003)
A monumentally stylized head of a woman. Her head is tilted slighty to the viewer's right. Her eyes, nose, and lips are large and almost mask-like. She appears to be wearing a hat of a modern style. Shading is executed with powerful parallel lines and cross-hatching. The year of the work's execution, 1916, appears in the lower right.
One from a nunber of woodcut prints from the time that he was convalescing after serving in the First World War. "Head of a Woman" also shows the artist's stylistic interest in the art of non-western cultures, especially their treatment of the human figure.
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.
Wooden box with a keyhole cut through center of piece encircled with copper-colored paint and two large copper screw-heads on golden-yellow background; the word “KEY” painted in white letters at bottom
Like “Key Box,” many of Tilson’s works are reminiscent of children’s learning games, with bold colors and simple geometric forms. “Key Box” also reveals Tilson’s fascination with the relationship between symbols and words, linking the written word “key” with the representation of a keyhole.