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."
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.
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.
Gelatin silver print
This photograph, from a series titled Improved Photographs, depicts artist William Wegman dressed as a woman. Handwritten texts on the print's surface are meant to emulate a magazine editor's comments to "improve" a model's body. With characteristic wit and humor, Wegman exposes the deceptive nature of editorial and fashion photography, while also poking fun at idealized gender norms for physical appearance.
Dinner and TV
Inkjet print from the series “Normal”, 2018
The Pembroke Hill School
"In my work I disrupt many of the misconceptions surrounding mental illness, specifically the idea that someone's outer appearance is indicative of whether or not they have a mental illness. I have struggled with mental illness throughout most of my life, and I use my experiences as inspiration for my art.
I chose to document my life so that I could highlight the ways in which I am just like everyone else. On the surface, my images just look like I took portraits of a normal, healthy teenage girl going through her daily routine, not someone who experiences chronic depression, anxiety, and ADD. Although, within the images there are hints at what's going on behind the surface, like the medication on my bedside table. By showing myself living a seemingly normal life, I am proving that mental illness does not look one specific way. Not everyone who has depression looks like a stereotypical emo kid, in fact a lot of us look just like everyone else on the outside, and my images are reflective of that."
........................................... -- Sophie Hammond
Nan and Brian in bed in kimono, NYC, 1983
Dye destruction print
This photograph depicts artist Nan Goldin and her boyfriend at the time, seated in bed. The physical and emotional tension captured here reflects their strained relationship, one that eventually became abusive.
The photograph is part of Goldin's influential work The Ballard of Sexual Dependency. In it, Goldin chronicled the struggles for intimacy and understanding within her circle of friends and lovers during the 1970s and early 1980s. Ballad was originally conceived as a slide show of more than 700 color images accompanied by a soundtrack.