Bookcase, Michelangelo Pistoletto, 1976, Tate
Purchased 2006 Size: object, each: 2100 x 1200 x 400 mm Medium: Iron
http://www.tate.org.uk/art/artworks/pistoletto-bookcase-t12190
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Bookcase, Michelangelo Pistoletto, 1976, Tate
Purchased 2006 Size: object, each: 2100 x 1200 x 400 mm Medium: Iron
http://www.tate.org.uk/art/artworks/pistoletto-bookcase-t12190
Untitled, Christopher Wool, 2010, Art Institute of Chicago: Contemporary Art
Promised gift of Liz and Eric Lefkofsky Size: 243.8 x 198.1 cm (96 x 78 in.) Medium: Enamel on linen
https://www.artic.edu/artworks/207069/
Untitled, Clyfford Still, 1958, Art Institute of Chicago: Contemporary Art
In the late 1940s Clyfford Still, along with Barnett Newman and Mark Rothko, originated the type of Abstract Expressionism known as color-field painting, a term used to describe very large canvases dominated by monumental expanses of intense, homogeneous color. Like most of Still’s mature work, Untitled is a sheer wall of paint, imposing and self-sustaining, that makes no concessions to conventional notions of beauty or pictorial illusionism. This painting’s textural effects give it an insistent, complex materiality. Dominated by blacks applied with both a trowel and brushes, the surface is by turns reflective and chalky, granular and smooth, feathery and leaden. These variegated black surfaces are even more emphatic because their continuity is broken by areas of blank canvas and white paint. Like veins in igneous rock, streaks of orange, yellow, and green paint are embedded in the black voids. Mediating between the light and dark masses are areas of crimson, heightened at the edges, as if inflamed, by bright orange. Mr. and Mrs. Frank G. Logan Purchase Prize Fund; Roy J. and Frances R. Friedman Endowment; through prior gift of Mrs. Henry C. Woods; gift of Lannan Foundation Size: 290.2 × 406.4 cm (114 1/4 × 160 in.) Medium: Oil on canvas
https://www.artic.edu/artworks/146991/
Height, Jack Tworkov, 1958, Art Institute of Chicago: Contemporary Art
Gift of Lannan Foundation Size: 193.7 x 183.5 cm (76 1/4 x 72 1/4 in.) Medium: Oil on canvas
https://www.artic.edu/artworks/146923/
Sophie Guillemette, Grand Duchess of Baden (1801-1865), Franz Xaver Winterhalter , 1831, Cleveland Museum of Art: Modern European Painting and Sculpture
Sophie Guillemette (1801-1865), daughter of Gustavus IV Adolphus of Sweden, was the wife of Grand Duke Leopold of Baden. Winterhalter was her drawing instructor and made several portraits of both the duke and the duchess before leaving for London to become the most celebrated portrait painter of his time. Size: Framed: 57.5 x 46.5 x 10 cm (22 5/8 x 18 5/16 x 3 15/16 in.); Unframed: 39.1 x 28.5 cm (15 3/8 x 11 ¼ in.) Medium: oil on fabric
https://clevelandart.org/art/1979.43
Sappho, Emile Antoine Bourdelle , 1887-1925, Cleveland Museum of Art: Modern European Painting and Sculpture
Size: Overall: 28.3 x 22.3 x 11.2 cm (11 1/8 x 8 ¾ x 4 7/16 in.) Medium: bronze
https://clevelandart.org/art/1946.355
Sienna, Cecilia Edefalk, 1999, Art Institute of Chicago: Contemporary Art
Cecilia Edefalk’s work, almost always a serial exploration of a single motif, is distinguished by frequent experiments with duplication, scale, and proportion. All of the artist’s paintings emerge from a relationship to other modes of representation. For Edefalk, sculpture, notably historic statuary, has been a catalyst that she has consistently reinterpreted in order to reflect on experiences that bind her to a particular work. At one point in her career, she traveled to Italy, where she became fascinated by a Quattrocento statue, a polychrome wood angel for an Annunciation. This led her to create a series of paintings, including the haunting portrait Sienna. Although Edefalk considers this an independent composition, it marks the close of the series and aims to capture the mystical qualities she prized in the statue. Restricted gift of the Barbro Osher Pro Suecia Foundation Size: 80 × 53 cm (31 1/2 × 21 in.) Medium: Oil on canvas
https://www.artic.edu/artworks/186365/
Table with Pink Tablecloth, Richard Artschwager, 1964, Art Institute of Chicago: Contemporary Art
Richard Artschwager’s work defies categorization, yet it often combines elements of both Pop Art and Minimalism. An early example of his “furniture surrogates,” which draw upon his experience as the owner of a successful carpentry and furniture-design business, Table with Pink Tablecloth was exhibited— along with other compact, geometric masses wrapped with formica “pictures” so that they resemble domestic items—in his first solo show at the Leo Castelli Gallery, New York, in 1965. Artschwager described this work as “the way a table with a tablecloth is in a painting, in a still life—a three-dimensional still life.” Too short to be useful as a piece of furniture, this translation of a Parsons table depicts a solid form as both mass and void and attempts to reveal the levels of deception involved in pictorial illusionism. Gift of Lannan Foundation Size: 64.8 x 111.8 x 111.8 cm (25 1/2 x 44 x 44 in.) Medium: Formica on wood
https://www.artic.edu/artworks/146901/
Study H.M., Daan van Golden, Art Institute of Chicago: Contemporary Art
Promised gift of Donna and Howard Stone Size: 145 x 90 cm (57 1/16 x 35 7/17 in.) Medium: Oil on canvas
https://www.artic.edu/artworks/201936/
Some Thames - Group F, Roni Horn, 2000, Art Institute of Chicago: Contemporary Art
Restricted gift of Pritzker Traubert Family Foundation; through prior gift of Emily Crane Chadbourne, Mr. and Mrs. Carter H. Harrison, and Muriel Kallis Newman in memory of Albert Hardy Newman; Oscar L. Gerber Memorial Endowment; and Robert and Marlene Baumgarten Memorial Fund Size: 97 x 64 cm (38 x 25 in.) Medium: Inkjet print on lacquered paper Edition four of eight
https://www.artic.edu/artworks/184587/
from the series I Strongly Believe in Our Right to Be Frivolous, Mounira Al Solh, 2012, Art Institute of Chicago: Contemporary Art
Claire and Gordon Prussian Fund for Contemporary Art Size: 28.6 x 21 cm (11 1/4 x 8 1/4 in.) Medium: Watercolor, ink, and collage on commercial legal paper
https://www.artic.edu/artworks/243619/
Abstraction, Simonetta Vigevani Jung, 1960, Minneapolis Institute of Art: Contemporary Art
Size: 49 3/8 x 35 x 1 ¾ in. (125.41 x 88.9 x 4.45 cm) Medium: Oil on canvas
https://collections.artsmia.org/art/10459/
Cupid’s Hunting Fields, Sir Edward Burne-Jones, 1885, Art Institute of Chicago: Prints and Drawings
Robert Alexander Waller Memorial Collection Size: 995 × 769 mm Medium: Gouache, with watercolor and gold and silver paints on ivory wove paper, laid down on linen canvas
https://www.artic.edu/artworks/12977/
Untitled, Kiki Smith, 1988, Art Institute of Chicago: Contemporary Art
Kiki Smith has been instrumental in shifting the abstract rhetoric of the human form in art into a grounded conversation about the body, particularly as it is defined in social and political terms. Her figurative sculpture examines the physical and spiritual nature of the body by presenting it in an abject, fragmented, and damaged state. Untitled, which is one of only a few sculptures by Smith that investigates the male form, is executed in tissue-thin gampi paper—a fragile and ephemeral material—to convey the porous and permeable quality of skin. Here, as in much of Smith’s work, the artist engaged viewers in issues of individual and collective health and disease, heroization and victimization, and life and death. Gift of Lannan Foundation Size: 121.9 x 96.5 x 17.8 cm (48 x 38 x 7 in.) Medium: Ink on gampi paper
https://www.artic.edu/artworks/146895/
Lost Horizon, Robert Bourdon, 1980, Art Institute of Chicago: Contemporary Art
Gift of Mr. and Mrs. David Levin Size: 88.9 x 127 x 10.2 cm (35 x 50 x 4 in.) Medium: Acrylic on wood
https://www.artic.edu/artworks/70371/
The Reflecting Pool: Collected Works, Bill Viola, 1977, Art Institute of Chicago: Contemporary Art
For over thirty years, Bill Viola has created single-channel videos as well as sound and video installations that focus on spirituality and explore multiple levels of human consciousness. In constructing these works, the artist draws from his extensive study of Eastern and Western art, philosophy, and religion. He also consistently deploys cutting-edge technologies, investigating new ways to manipulate viewers’ percep-tion. Both the videos in The Reflecting Pool and the installation Reasons for Knocking at an Empty House are important early works that foreshadow Viola’s later creations, combining philosophic inquiry with captivating physical environments.The Reflecting Pool is a series comprising five individual videos, including Moonblood, that offer a collective meditation on the various stages in an individual life. The first work, also titled The Reflecting Pool, demonstrates the shift from stillness to motion as a fixed camera captures a man approaching a pool of water through trees and lush foliage. The only sounds are those of the branches rustling and the water rippling. The man momentarily stands before the pool before jumping into the air. As he reaches the crest of his jump, he is frozen in space while the water beneath him continues to undulate. There is a fleeting reflection of other people walking around the pool, although no one can be seen doing so. After a series of similar perceptual and temporal fragmentations, the man’s image fades, leaving only the pool. The final moments of the video are evocative of baptism, as a nude man emerges from the water and retreats into the woods.In this series, Viola aims to deconstruct viewers’ concepts of time and memory, divorcing images from their subjective meaning and reconnecting them to universal truths. This process of fostering self-awareness is an undercurrent of the artist’s practice. He has remarked, “There’s another dimension that you just know is there, that can be a source of real knowledge, and the quest for connecting with that and identifying that is the whole impetus for me to cultivate these experiences and to make my work.”In both The Reflecting Pool and Reasons for Knocking at an Empty House, the artist urges viewers to become active participants. Of his work, Viola stated, “You’re a part of it. It’s not something that’s just a fixed projection from the past.” Gift of Society for Contemporary Art Medium: The Reflecting Pool, 1977-79, 6:58 min.; Moonblood, 1977-79, 12:48 min.; Silent Life, 1979, 13:14 min.; Ancient of Days, 1979-81, 12:21 min.; Vegetable Memory, 1978-80, 15:13 min. Color video, sound (projection); 62 min. loop
https://www.artic.edu/artworks/108765/
After Franz Marc, Sherrie Levine, 1982, Art Institute of Chicago: Contemporary Art
Gift of Mr. and Mrs. Stanley M. Freehling Size: 1: 48.3 x 74.9 cm (19 x 29 1/2 in.); 2: 40.6 x 50.2 cm (16 x 19 3/4 in.); 3: 45.1 x 54.6 cm (17 3/4 x 21 1/2 in.); 4: 59.7 x 79.4 cm (23 1/2 x 31 1/4 in.); 5: 54 x 70.5 cm (21 1/4 x 27 3/4 in.); 6: 63.5 x 63.5 cm (25 x 25 in.) Medium: Set of six off-set lithographs
https://www.artic.edu/artworks/103448/