Paint on enamel and metal
JULY.4.1969. HI NABOR’! IF THAT = OLD GEE – ZER’S IN HEAVEN, LIKE HIS TOMBSTONE SAYS, IT’S PROBABLY BECAUSE THE DEVIL WOULDN’T HAVE HIM. QUOTE. FIRE AND HAIL. SNOW AND VAPOUR. STORMY WIND FUL-LFILLING HIS WORD: PSALMS=148=8.
The self-taught artist and social activist Jesse Clyde Howard was an adamant defender of First Amendment rights. Hundreds of sign sculptures like this one once filled his property in Fulton, Missouri. Ranging from confessions to angry accusations, these signs demonstrate Howard’s belief in free thought and free speech. His “text messages” may be appreciated for their aesthetic qualities as well. The bold, black lettering and stark white background create an arresting abstract visual arrangement.
Prayer bowl, Cochini, New Mexico ca. 1820, and Jar, Hopi Arizona ca. 1890
Clay and pigment
"This mysterious little jar is painted with the image of four bears, a representation rarely found in Hopi ceramics. Each animal has a heartline -- the line running from the mouth to the chest, terminating in the area of the heart. Other features, such as teeth and claws, are emphasized. The use of this jar is unknown; it may have had a ceremonial function or may have been made for sale to outsiders who were visiting Hopi villages in ever increasing numbers during the last decades of the 19th century."
Teaching a Mustang Pony to Pack Dead Game, ca. 1890
Oil on canvas
Growing up in upstate New York, Frederic Remington became entranced by the American West, a place he imagined filled with cowboys, Indians and adventure. Following a trip in 1881 into the Montana Territory, he temporarily adopted the life of a cowboy and began making art that reinforced nostalgic fantasies about the frontier West, which was declared exhausted by the 1890 census.
Teaching a Mustang Pony to Pack Dead Game focuses on cowboys attempting to force a pony to overcome its innate fear of a dead antelope. Remington painted the dynamic black-and-white composition to be an engraved illustration in the August 16, 1890, issue of Harper's Weekly.
Bouncing Marbles, Bouncing Apple, Bouncing Olive
Oil on canvas
"In Bouncing Marbles, Bouncing Apple, Bouncing Olive, Edward Ruscha explores an obscure language of visual relationships. He divorces the objects depicted from their everyday contexts by placing them within an infinite, surreal space. The relationships that exist among the marbles, apples and olive are equally interpretations. The marbles might refer to childhood, the olive to hors d'oeuvres and martinis and the apple to the Fall of Adam and Eve. Such a reading makes this a meditation on the loss of innocence. Alternatively, Ruscha may have constructed a playful dialog among round forms or a treatise on Newton's law."
Starboat (Tugboat and Riverboat) 1966
Oil on canvas
Starboat (Tugboat and Riverboat) is painted with Thiebaud's characteristic sensuous colors and thick impasto. The boat and its reflection are rendered with delicate brush strokes. Sea and sky, boldly defined by a yellow and green horizon line, are laid out in broad swaths with a palette knife. While Thiebaud's work has been associated with Pop art because of its focus on the everyday objects of popular culture, he sees it as part of a long realist tradition.
The Red Sail
Gouache on paper
"As an art critic, journalist, and skilled photographer, Bourguignon traveled widely through France, Spain, and Italy, North Africa, Corsica, and Yugoslavia. He lived in Peru and later Haiti, where he met his wife, Erika, a renowned anthropologist. The couple settled in Columbus, Ohio in 1950 after Erika joined the faculty of The Ohio State University.
During his long and prolific life, Bourguignon amassed a large and varied group of paintings—early gouaches and later acrylics—and numerous pencil, pastel and ink-wash drawings. Many of the gouache paintings from the 1950s and 1960s depict tranquil landscapes, rich cultural interpretations and evocative portraits, figures, and genre scenes that were derived from his travels. In the 1970s, his landscapes and figural scenes took new directions and became less specifically descriptive. The works were expressionistic, often with whimsical, vulnerable, or tragic figures revealed in delightfully complex interactions of brushstrokes and texture."
Mirror Stage, 2012
In Mirror Stage, Ilit Azoulay combines images of a building taken at various angles and vantage points to create a new, digitally fabricated interior. The panorama is part of her series Imaginary Order (2008-2017). The project focused on the renovation of a well-known Brutalist-style building in the Israeli town of Zichron Ya'Akov. The artist photographed the structure over the course of seven years as it was transformed from a convalescent home into an art center and luxury hotel. The building's shift in function paralleled socio-political changes as Israel moved away from socialism to a capitalist economic model. Azoulay's re-creation merges elements of past, present, and future, to fabricate a never-to-be realized photographic plan.