"id","title","medium","classification","dimension","object_name","continent","country","culture","dated","room","style","inscription","signed","markings","text","description","provenance","portfolio","creditline","accession_number","artist","role","nationality","life_date","image_copyright","department","rights_type","image","image_width","image_height","restricted","public_access","curator_approved","catalogue_raissonne","art_champions_text","see_also","searchTerm","searchScore","list:whm","list:nahm","related:audio-stops","list:bhm","list:diversifying-the-prints-and-drawings-collection","list:aampi","list:aib-2021-selections","list:handbook","related:artstories","list:paintings-provenance","list:arts-of-americas","list:pride-month","list:highlights-of-the-contemporary-collection","list:recent-additions-to-the-prints-and-drawings-collection","list:recent-decorative-arts-sculpture-and-textiles-acquisitions","list:prints-and-drawings-collection-highlights","list:hispanic-heritage","list:minnesotan-artists-in-the-contemporary-collection","list:hispanic-american-heritage","list:spookyseason","list:women-in-the-contemporary-collection","list:recent-acquisitions-to-the-paintings-collection","list:women-artists-in-the-paintings-collection" "135202","Seizing the Media","Offset lithography, letterpress; bound volume"," Books; Works on Paper","5 1/2 × 4 1/4 × 1/8 in. (13.97 × 10.8 × 0.32 cm) (closed)","Zine",,,,"1992","Not on View","20th century","","","","","Saddle stitched binding, letterpress and photographic images of two men's faces, printed in offset lithography on gray wove paper covers; 24 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1524","Author: Greg Ruggiero; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",9.369228,,,,,,,,,,,,,,,,,,,,,,, "13394","Mondale and Media, Chicago","gelatin silver print"," Photographs","8 11/16 x 13 in. (22.07 x 33.02 cm) (image) 11 x 13 15/16 in. (27.94 x 35.4 cm) (sheet)",,"North America","United States",,"1984","Not on View","20th century","","","","","","",,"Gift of David L. and Mary M. D. Parker","2000.274.56","Photographer: Thomas F. Arndt","Artist","American","American, born 1944","%C2%A9 Tom Arndt","Arts of the Americas","In Copyright","valid",4203,2796,1,"1",0,,,"[""""]","media",6.3754153,,,,,,,,,,,,,,,,,,,,,,, "135047","Media Junky, issue 14","Xerography; bound volume"," Books; Works on Paper","5 5/8 × 4 1/4 in. (14.29 × 10.8 cm) (closed)","Zine",,,,"2010","Not on View","21st century","","","","","Saddle stitched binding, xerographic photo-collage of text and various illustrations and imagery, a hand holds a mouse in the lower center; 16 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1369","Artist: Jason Rodgers; Publisher: Jason Rodgers , ALbany, N.Y.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",6.3743143,,,,,,,,,,,,,,,,,,,,,,, "17300","Sycamore Corner, (Media, Penna.)","Watercolor or gouache on paper, mounted on poster board"," Drawings; Works on Paper","18 3/8 x 24 3/16 in. (46.67 x 61.44 cm) (mount) 17 15/16 x 23 15/16 in. (45.56 x 60.8 cm) (sheet)","Watercolor","North America","United States",,"c. 1947","Not on View","20th century","","","","","","",,"The William Hood Dunwoody Fund","47.46","Artist: Mary-Louise Lilly","Artist","American","American","Copyright of the artist%2C artist%27s estate%2C or assignees","Arts of the Americas","In Copyright–Rights-holder(s) Unlocatable","valid",6320,4792,0,"1",0,,,"[""""]","media",6.3743143,true,,,,,,,,,,,,,,,,,,,,,, "135165","Media Boloney Knust Wallpaper","Color offset lithography, letterpress; folded leaves"," Books; Works on Paper","4 1/2 × 2 7/8 × 3/16 in. (11.43 × 7.3 × 0.48 cm) (closed)","Poster zine",,,,"late 20th-early 21st century","Not on View","20th-21st century","","","","","Two folded leaves glued together at the spine, with letterpress and color offset lithographic designs and illustrations printed on wove paper. The two leaves each fold out to display a series of comic scenes (recto) and a geometric pattern (verso.)","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1487","Maker: Unknown; Publisher: Knust Press, Nijmegen, Netherlands","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",1800,2520,1,"1",0,,,"[""""]","media",6.373213,,,,,,,,,,,,,,,,,,,,,,, "140610","Card/Insert: MAINSCREAM MEDIA...","Xerography"," Works on Paper","5 1/2 × 4 1/4 in. (14 × 10.8 cm)","Insert",,,,"November 1991","Not on View","20th century","","","","","Double-sided, colored, wove paper card that would be distributed on its own or inserted into the leaves of a zine, and that advertises upcoming publications, an event, and/or a call for submissions; that recounts a story, memory, or opinion of the artist's; and which often includes rants or tirades on a given subject, poetry, text art, designs, and illustrations.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.361.12","Artist: Fly NYC","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2625,1,"1",0,,,"[""""]","media",6.373213,,,,,,,,,,,,,,,,,,,,,,, "140657","Card/Insert: MAINSCREAM MEDIA...","Xerography"," Works on Paper","5 1/2 × 4 1/4 in. (14 × 10.8 cm)","Insert",,,,"November 1991","Not on View","20th century","","","","","Double-sided, colored, wove paper card that would be distributed on its own or inserted into the leaves of a zine, and that advertises upcoming publications, an event, and/or a call for submissions; that recounts a story, memory, or opinion of the artist's; and which often includes rants or tirades on a given subject, poetry, text art, designs, and illustrations.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.361.59","Artist: Fly NYC","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2625,1,"1",0,,,"[""""]","media",6.373213,,,,,,,,,,,,,,,,,,,,,,, "140664","Card/Insert: MAINSCREAM MEDIA","Xerography"," Works on Paper","5 1/2 × 4 1/4 in. (14 × 10.8 cm)","Insert",,,,"November 1991","Not on View","20th century","","","","","Double-sided, colored, wove paper card that would be distributed on its own or inserted into the leaves of a zine, and that advertises upcoming publications, an event, and/or a call for submissions; that recounts a story, memory, or opinion of the artist's; and which often includes rants or tirades on a given subject, poetry, text art, designs, and illustrations.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.361.66","Artist: Fly NYC","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2625,1,"1",0,,,"[""""]","media",6.373213,,,,,,,,,,,,,,,,,,,,,,, "5827","The Media, St. Paul, Minnesota","Gelatin silver print"," Photographs","8 5/8 x 12 15/16 in. (21.91 x 32.86 cm) (image) 10 15/16 x 13 15/16 in. (27.78 x 35.4 cm) (sheet)",,"North America","United States",,"1984","Not on View","20th century","title, date, edition, signature","","","","camera tripods in background; blond woman left watching a tv; man in white shirt right","",,"Gift of David L. Parker and Mary M. D. Parker","98.96.3","Photographer: Thomas F. Arndt","Artist","American","American, born 1944","%C2%A9 Tom Arndt","Arts of the Americas","In Copyright–Educational Use","valid",2560,1709,0,"1",0,,,"[""""]","media",6.2823052,,,,,,,,,,,,,,,,,,,,,,, "36320","Walter Mondale and Media, Chicago","gelatin silver print"," Photographs","8 11/16 x 13 in. (22.07 x 33.02 cm) (image) 11 x 13 15/16 in. (27.94 x 35.4 cm) (sheet)",,"North America","United States",,"1984","Not on View","20th century","title, date, edition, signature","","","","Walter Mondale, facing right, surrounded by reporters; microphone being held in front","",,"Gift of David and Mary Parker","2001.247.8","Photographer: Thomas F. Arndt","Artist","American","American, born 1944","%C2%A9 Tom Arndt","Arts of the Americas","In Copyright","valid",4208,2802,1,"1",0,,,"[""""]","media",6.2823052,,,,,,,,,,,,,,,,,,,,,,, "134263","Open Magazine, Pamphlet no. 10: Media Control: The Spectacular Achievements of Propaganda","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 1/4 × 1/8 in. (27.94 × 10.8 × 0.32 cm) (closed)","Pamphlet",,,,"July 1991","Not on View","20th century","Front cover, graphite pencil: 3-","","","","Saddle stitched binding, red and black letterpress text printed in color offset lithography on textured gray wove paper covers; 22 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.585","Author: Noam Chomsky; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",6.068257,,,,,,,,,,,,,,,,,,,,,,, "5833","Mondale and Media, North Oaks, Minnesota","Gelatin silver print"," Photographs","8 5/8 x 12 15/16 in. (21.91 x 32.86 cm) (image) 10 15/16 x 13 7/8 in. (27.78 x 35.24 cm) (sheet)",,"North America","United States",,"1984","Not on View","20th century","title, date, edition, signature","","","","Walter Mondale in plaid shirt left photographed by the media","",,"Gift of David L. Parker and Mary M. D. Parker","98.96.9","Photographer: Thomas F. Arndt","Artist","American","American, born 1944","%C2%A9 Tom Arndt","Arts of the Americas","In Copyright–Educational Use","valid",2560,1712,0,"1",0,,,"[""""]","media",5.728071,,,,,,,,,,,,,,,,,,,,,,, "134051","Free! #4","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 9/16 × 1/16 in. (21.6 × 14.1 × 0.2 cm) (closed)","Zine",,,,"early 21st century","Not on View","21st century","","","","","Saddle stitched binding, photo-collage of various dresigns-- there is a central figure carrying a sign that reads ""DINOSAURS / SHOWDOGS / FARM ANIMALS"" in a bulleted list; 40 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.373","Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",5.5831304,,,,,,,,,,,,,,,,,,,,,,, "134052","Free! #5","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/16 in. (21.6 × 14 × 0.2 cm) (closed)","Zine",,,,"early 21st century","Not on View","21st century","","","","","Saddle stitched binding, image of a figure smoking a cigarette, letting the smoke plume so as to obscure their face, with text on their neck; 40 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.374","Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",5.5831304,,,,,,,,,,,,,,,,,,,,,,, "134625","Stoned Age #1","Color and black-and-white offset lithography, letterpress; loose, folded leaves"," Books; Works on Paper","15 1/4 × 14 1/8 × 1/16 in. (38.7 × 35.9 × 0.2 cm) (closed)","Zine",,,,"2018","Not on View","21st century","Front cover, lower left center, black sharpie: TO FLY! / JOHN / HOLMSTROM","","","","Loose, folded leaves wth text, designs, marijuana leaf graphics, and an image of a man flexing his arm; 24 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.947","Editor: John Holmstrom; Publisher: Stoned Age Media","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2850,3990,1,"1",0,,,"[""""]","media",5.451989,,,,,,,,,,,,,,,,,,,,,,, "36315","The Media, St. Paul, During Mondale Campaign","gelatin silver print"," Photographs","8 11/16 x 12 15/16 in. (22.07 x 32.86 cm) (image) 11 x 13 15/16 in. (27.94 x 35.4 cm) (sheet)",,"North America","United States",,"1983","Not on View","20th century","title, date, edition, signature","","","","journalists and photographers in front of painting of Native Americans gathered by a river","",,"Gift of David and Mary Parker","2001.247.3","Photographer: Thomas F. Arndt","Artist","American","American, born 1944","%C2%A9 Tom Arndt","Arts of the Americas","In Copyright","valid",4210,2808,1,"1",0,,,"[""""]","media",4.812841,,,,,,,,,,,,,,,,,,,,,,, "133788","Becoming the Media: a Critical History of Clamor Magazine","Letterpress, offset lithography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 3/16 in. (21.59 × 13.97 × 0.48 cm) (closed)","Zine",,,,"2008","Not on View","21st century","","","","","Saddle stitched binding, text printed in offset lithography using negative space on beige paper cover; 44 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.110","Author: Jen Angel; Publisher: PM Press, Oakland","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2400,3360,1,"1",0,,,"[""""]","media",4.6928396,,,,,,,,,,,,,,,,,,,,,,, "134951","ABC No Rio","Xerography; bound volume"," Books; Works on Paper","2 13/16 × 2 1/8 × 1/16 in. (7.14 × 5.4 × 0.16 cm) (closed)","Zine",,,,"1995","Not on View","20th century","","","","","Saddle stitched binding, xerographic text, hypnotic pattern, and illustrations of the Food Not Bombs logo (a hand holding a carrot), the Black Kat Media logo (a black cat), and the international squatters' symbol printed on wove paper covers; 8 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1273","Artist: Seth Tobocman , et al.; Author: Black Kat Media, New York; Publisher: Black Kat Media, New York","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",1500,2100,1,"1",0,,,"[""""]","media",4.669236,,,,,,,,,,,,,,,,,,,,,,, "133990","Dream #1","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/16 in. (21.6 × 14 × 0.2 cm) (closed)","Zine",,,,"2006","Not on View","21st century","","","","","Saddle stitched binding, text on black ground; 12 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.312","Artist: Alicia Best; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",4.612004,,,,,,,,,,,,,,,,,,,,,,, "133698","A Day in the Life","Photocopy; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/16 in. (21.59 × 13.97 × 0.16 cm) (closed)","Zine",,,,"August 26, 2006","Not on View","21st century","","","","","Bound covers, photocopied image and text; 12 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.20","Maker: Unknown; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",1950,2730,1,"1",0,,,"[""""]","media",4.612004,,,,,,,,,,,,,,,,,,,,,,, "134630","Stories for the Children! Volume 2","Xerography; bound volume"," Books; Works on Paper",,"Zine",,,,"late 20th-early 21st century","Not on View","20th-21st century","","","","","Saddle stitched binding, text and illustration of a seated figure on the side of the road, across from whom there is a van pulled over and two other figures--silhouettes--loitering around a tree on a hill; 39 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.952","Artist: Julia Halibut; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",4.612004,,,,,,,,,,,,,,,,,,,,,,, "134788","This is a: Free Generic Product","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/8 in. (21.59 × 13.97 × 0.32 cm) (closed)","Comic book",,,,"late 20th-early 21st century","Not on View","20th-21st century","","","","","Saddle stitched binding, xerographic text and illustration of a roadside scene with city and abstract designs in the background printed on wove paper covers; 12 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1110","Maker: Unknown; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2400,3360,1,"1",0,,,"[""""]","media",4.612004,,,,,,,,,,,,,,,,,,,,,,, "134590","Some People Are MMMM Maniacss","Offset lithography, letterpress; bound volume"," Books; Works on Paper","8 1/2 × 5 × 1/16 in. (21.6 × 12.7 × 0.2 cm) (closed)","Zine",,,,"2017","Not on View","21st century","","","","","Saddle stitched binding, image of a figure partially covering their face with their hand, featuring text and a design (squatter logo); 8 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.912","Artist: Fly NYC; Publisher: Squatter Oughtta Media, New York","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",1800,2520,1,"1",0,,,"[""""]","media",4.612004,,,,,,,,,,,,,,,,,,,,,,, "134000","Durvic.","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/16 in. (21.6 × 14 × 0.2 cm) (closed)","Comic book",,,,"2000","Not on View","21st century","","","","","Saddle stitched binding, text on a mostly blank cover, except for two illustrations, one of a ink bottle with wings in the upp right corner, and another of three fountain pens in a bird's nest upon a branch; 12 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.322","Artist: Alicia Best; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",4.610903,,,,,,,,,,,,,,,,,,,,,,, "134001","DIY Zines and Comix: a sorta ""how to""...","Black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/16 in. (21.6 × 14 × 0.2 cm) (closed)","Zine",,,,"2016","Not on View","21st century","","","","","Saddle stitched binding, illustration of a figure reading a book, with three thought bubbles, and text; 21 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.323","Artist: Fly NYC; Publisher: Squatter Oughtta Media, New York","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",4.610903,,,,,,,,,,,,,,,,,,,,,,, "134761","The Sketchy Life of a Fly","Offset lithography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/8 in. (21.6 × 14 × 0.3 cm) (closed)","Zine",,,,"2016","Not on View","21st century","","","","","Saddle stitched binding, reproduction of handwritten text and a portrait sketch of a figure with horns and cartoonish bones on their collarbones; 40 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1083","Artist: Fly NYC; Publisher: Squatter Oughtta Media, New York","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",1800,2520,1,"1",0,,,"[""""]","media",4.610903,,,,,,,,,,,,,,,,,,,,,,, "134163","I Scatter Flowers of War","Offset lithography, letterpress; loose, folded leaves"," Books; Works on Paper","8 1/2 × 5 1/2 in. (21.59 × 13.97 cm) (closed)","Zine",,,,"August 14, 1999","Not on View","20th century","","","","","Loose, folded leaves, photomechanic image of abstract symbol printed in offset lithography with letterpress text on wove paper; 13 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.485","Author: Subcomandante Marcos; Publisher: Open Media Pamphlet Series","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",4.546984,,,,,,,,,,,,,,,,,,,,,,, "134107","Helena & The Mitch, no. 1","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/16 in. (21.59 × 13.97 × 0.16 cm) (closed)","Zine",,,,"2006","Not on View","21st century","","","","","Saddle stitched binding, photocopied image of drawn juice cartoon with text printed in xerography on wove paper covers; 12 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.429","Author: Helena; Author: Mitch; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",4.546984,,,,,,,,,,,,,,,,,,,,,,, "134875","Open Magazine, Pamphlet no. 17: Women & Abortion: The Body as Battleground","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 3/16 × 1/8 in. (27.94 × 10.64 × 0.32 cm) (closed)","Pamphlet",,,,"1992","Not on View","20th century","","","","","Saddle stitched binding, letterpress text and designs printed in color offset lithography on speckled wove paper covers; 18 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1197","Author: Rosalyn Baxandall; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",4.546984,,,,,,,,,,,,,,,,,,,,,,, "133810","Open Magazine, Pamphlet no. 16: Black America: Multicultural Democracy in the Age of Clarence Thomas, David Duke, and the LA Uprisings","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 1/4 × 1/8 in. (27.94 × 10.8 × 0.32 cm) (closed)","Pamphlet",,,,"1992","Not on View","20th century","","","","","Saddle stitched binding, letterpress text printed on wove paper covers; 18 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.132","Author: Manning Marable; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",4.5469837,,,,,,,,,,,,,,,,,,,,,,, "134106","Helena & The Mitch, no. 3","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 in. (21.59 × 13.97 cm) (closed)","Zine",,,,"21st century","Not on View","21st century","","","","","Saddle stitched binding; photocopied image of figure surrounded by various designs and text printed in offset lithography on wove paper covers; 12 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.428","Author: Helena; Author: Mitch; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2400,3360,1,"1",0,,,"[""""]","media",4.5469837,,,,,,,,,,,,,,,,,,,,,,, "134108","Helena & The Mitch, no. 2","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 1/2 × 1/16 in. (21.59 × 13.97 × 0.16 cm) (closed)","Zine",,,,"21st century","Not on View","21st century","","","","","Saddle stitched binding, photocopied image of cityscape and abstracted hand with text printed in xerography on wove paper covers; 12 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.430","Author: Helena; Author: Mitch; Publisher: Chain Saw Media, St. Louis","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",4.5469837,,,,,,,,,,,,,,,,,,,,,,, "133718","Open Magazine, Pamphlet no. 11: Above The Law & Behind Closed Gates: The Nomination of Robert Gates to Director of the CIA","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 1/4 × 1/8 in. (27.94 × 10.8 × 0.32 cm) (closed)","Pamphlet",,,,"July 1991","Not on View","20th century","","","","","Saddle stitched binding, brown and purple letterpress text printed on textured wove paper covers; 18 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.40","Author: Murray Waas; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",4.5458827,,,,,,,,,,,,,,,,,,,,,,, "133880","Open Magazine, Pamphlet no. 19: Columbus, The Indians, & Human Progress 1492-1992","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 1/4 × 1/8 in. (27.94 × 10.8 × 0.32 cm) (closed)","Pamphlet",,,,"May 1992","Not on View","20th century","","","","","Saddle stitched binding, letterpress text and abstracted image printed in color offset lithography on speckled wove paper covers; 18 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.202","Author: Howard Zinn; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist","American","American, 1922–2010","","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",4.5458827,,,,,,,,,,,,,,,,,,,,,,, "133816","Blind Spot, vol. 2, Issue 2","Photocopy, red ink stamp; folded leaf"," Books; Works on Paper","11 × 8 1/2 in. (27.94 × 21.59 cm) (closed)","Periodical",,,,"April 17, 2000","Not on View","21st century","","","","","Unbound, folded leaf, text and images photocopied on wove paper with red ink stamp which reads ""UNCENSORED""; 4 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.138","Artist: Fly NYC; Author: Ana Nogueira; Publisher: Independent Media Center, Washington D.C.","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",2357,3300,1,"1",0,,,"[""""]","media",3.7058976,,,,,,,,,,,,,,,,,,,,,,, "133722","Open Magazine, Pamphlet no. 15: ACT UP, The AIDS War & Activism, Updated Edition","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 3/16 × 1/8 in. (27.94 × 10.64 × 0.32 cm) (closed)","Pamphlet",,,,"July 1992","Not on View","20th century","","","","","Saddle stitched binding, letterpress text printed on speckled wove paper covers; 22 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.44","Author: George M. Carter; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",3.7058976,,,,,,,,,,,,,,,,,,,,,,, "134819","Ugly Planet, issue 3","Color and black-and-white offset lithography; bound volume"," Books; Works on Paper","10 × 7 1/2 × 1/4 in. (25.4 × 19.05 × 0.64 cm) (closed)","Periodical",,,,"2005","Not on View","21st century","","","","","Saddle stitched binding, photomechanical illustration of","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1141","Artist: Fly NYC , et al.; Author: Yasmin Hernandez , et al.; Publisher: Ugly Planet Media, New York","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",3000,4200,1,"1",0,,,"[""""]","media",3.7058976,,,,,,,,,,,,,,,,,,,,,,, "134388","Open Magazine, Pamphlet no. 13: Peace in the Middle East","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 1/4 × 1/8 in. (27.94 × 10.8 × 0.32 cm) (closed)","Pamphlet",,,,"November 1991","Not on View","20th century","","","","","Saddle stitched binding, letterpress text printed on speckled wove paper covers; 22 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.710","Author: Edward W. Said; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",3.7058976,,,,,,,,,,,,,,,,,,,,,,, "134526","Select Magazine #6.66","Color and black-and-white offset lithography, letterpress; Loose, folded leaves"," Books; Works on Paper","17 × 11 × 1/16 in. (43.18 × 27.94 × 0.16 cm) (closed)","Periodical",,,,"2003","Not on View","21st century","","","","","Loose, folded leaves, letterpress text and illustration of abstract boxer-figure printed in color offset lithography on newsprint; 32 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.848","Artist: Ray Noland , et al.; Author: James John Bell; Publisher: Select Media, Chicago","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",4620,3300,1,"1",0,,,"[""""]","media",3.7058976,,,,,,,,,,,,,,,,,,,,,,, "134818","Ugly Planet, issue 2","Color and black-and-white offset lithography; bound volume"," Books; Works on Paper","10 × 7 1/2 × 1/4 in. (25.4 × 19.05 × 0.64 cm) (closed)","Periodical",,,,"2004","Not on View","21st century","","","","","Saddle stitched binding, photomechanical illustration of various amorphous figures underneath a sun, with text, printed in color offset lithography on coated paper covers; 64 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1140","Artist: Fly NYC , et al.; Author: Ojo Rojo , et al.; Publisher: Ugly Planet Media, New York","Artist","Canadian (active United States)","Canadian (active United States), born 1963","","Global Contemporary Art","Copyright Not Evaluated","valid",3000,4200,1,"1",0,,,"[""""]","media",3.7047963,,,,,,,,,,,,,,,,,,,,,,, "134496","Open Magazine, Pamphlet no. 18: Reproductive Freedom: Our Right to Decide","Color offset lithography, letterpress; bound volume"," Books; Works on Paper","11 × 4 1/4 × 1/8 in. (27.94 × 10.8 × 0.32 cm) (closed)","Pamphlet",,,,"April 1992","Not on View","20th century","","","","","Saddle stitched binding, letterpress text and designs printed in color offset lithography on wove paper covers; 18 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.818","Author: Marlene Fried; Author: Loretta Ross; Publisher: Open Media Pamphlet Series , Westfield, N.J.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2700,3780,1,"1",0,,,"[""""]","media",3.6408777,,,,,,,,,,,,,,,,,,,,,,, "133847","Bullfight, vol. 2","Color and black-and-white offset lithography; bound volume"," Books; Works on Paper","8 1/4 × 5 1/4 × 3/8 in. (20.96 × 13.34 × 0.95 cm) (closed)","Periodical",,,,"2005","Not on View","21st century","","","","","Perfect bound volume, images printed in color offset lithography with letterpressed text on coated cover; 137 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.169","Artist: Eliot K. Daughtry , et al.; Author: Robert Vivian , et al.; Publisher: Bullfight Media, Walnut Creek, C.A.","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2143,3000,1,"1",0,,,"[""""]","media",3.2203345,,,,,,,,,,,,,,,,,,,,,,, "134264","Mediaval, no. 4","Color offset lithography, letterpress; bound volume"," Books; Works on Paper","5 3/8 × 11 3/8 × 1/8 in. (13.65 × 28.89 × 0.32 cm) (closed)","Zine",,,,"2003","Not on View","21st century","","","","","Saddle stitched binding, full bleed, photomechanical image of surrealist field of clocks with letterpress text printed in color offset lithography on wove paper covers; 30 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.586","Maker: Unknown; Publisher: Knust Press, Nijmegen, Netherlands","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",4267,2400,1,"1",0,,,"[""""]","media",1.5027606,,,,,,,,,,,,,,,,,,,,,,, "123088","Santa Clara pot","Stoneware"," Ceramics","4 3/16 × 5 1/4 × 5 1/4 in. (10.67 × 13.34 × 13.34 cm)","Pot","North America","United States",,"20th century","Not on View","20th century","","","","","glossy black pot with four red circles, matte incised designs in surface - possibly phoenix; in circles, face with headdress and earrings and elongated circular figures","","From ","Gift of Vanessa Laird and Timothy Raylor","2015.129.3","Artist: Grace Medicine Flower","Artist",,"Kha'p'oo Owinge (Santa Clara Pueblo), born 1938","","Arts of the Americas","No Known Copyright","valid",3669,3537,1,"1",0,,,"[""""]","media",0.8465527,true,true,,,,,,,,,,,,,,,,,,,,, "145330","Pair of boot moccasins","Hide, beads, sinew, cotton cloth"," Beadwork","15 × 5 1/4 × 10 in. (38.1 × 13.3 × 25.4 cm) (each)","Pair of boot moccasins","North America","United States",,"20th century","Not on View","20th century","","","","","fully beaded tall boots with American flag, morning star, geometric designs on blue ground; design of boot is mirrored on the other; colors are blue, red, green and design is created all in small glass beads, vertical row of brass buttons on outside of leg, not functional; vertical opening in boot on outside of leg tied with three leather ties; red wool covered boot forms tacked into boots; raw leather sole; .1 is a matching dress","","From ","Bequest of Virginia Doneghy, by exchange","2023.47.2a,b","Artist: Imogene Big Medicine","Artist","American (Southern Cheyenne)","American (Southern Cheyenne), born 1926","","Arts of the Americas","In Copyright","valid",1600,1200,1,"1",0,,,"[""""]","media",0.8465527,,,,,,,,,,,,,,,,,,,,,,, "145329","Dress","Hide, beads, sinew, cotton cloth"," Beadwork","35 × 42 × 1 in. (88.9 × 106.7 × 2.5 cm)","Dress","North America","United States","Southern Cheyenne","c. 1965","Not on View","20th century","","","paper tag pinned inside sleeve: 90s / Imogene / Big Medicine / (Cheyenne) / Fully beaded / dress / Replica / From / Detroit / Historical / Society / LSYY / Museum / Chandler / Pohrt / Collection / 6900.","Southern Cheyenne artist Imogene Big Medicine (1923 – 1980) created this stunningly beautiful fully beaded dress with matching leggings and moccasins. Hundreds of Italian glass beads are sinew-stitched to the tanned hide, and the dress is lined with calico. Using a lane stitch technique to bead – customary for Cheyenne and Lakota bead artists – Big Medicine draws upon Lakota stylistic and design elements, including a background filled with brilliant blue beads and further embellished with warm amber and green beaded designs. Perhaps the most striking elements in the outfits are the American flags that appear, a common motif used by bead artists since the mid to late 19th century. American flags were used in a variety of ways, most notably to imbue the wearer with the “power” the flag represented, and to provide a visual cue of “allegiance” to the outside world. A subversive strategy, these flags actually allowed individuals to covertly practice ceremonies and events during patriotic gatherings such as the 4th of July in plain sight.","fully beaded child-size dress or shirt with long buckskin fringe at arm openings and bottom; American flag designs at shoulders and waist with morning stars, red, gold, green geometric designs in a blue field; bead design is the same on both front and back; all small glass beads; lined with a red cotton fabric with small floral pattern; .2a,b is a matching pair of boots","",,"Bequest of Virginia Doneghy, by exchange","2023.47.1","Artist: Imogene Big Medicine","Artist","American (Southern Cheyenne)","American (Southern Cheyenne), born 1926","","Arts of the Americas","In Copyright","valid",600,800,1,"1",0,,,"[""""]","media",0.8465527,,,,,,,,,,,,,,,,,,,,,,, "4062","Eagle Dance","Watercolor"," Drawings","9 7/8 x 6 1/8 in. (25.08 x 15.56 cm) (sheet)","Watercolor","North America","United States","Zia Pueblo","20th century","Not on View","20th century","Signature; Inscription Inscription, verso in ball-point pen: [Eagle Dance/Rafael Medina/Zia Pueblo]","LR: [MEDINA]","","","","",,"Bequest of Virginia Doneghy","91.108.6","Artist: Rafael Medina (Teeyacheena)","Artist","American","American (Zia Pueblo), 1929 - 1998","%C2%A9 Rafael Medina","Arts of the Americas","In Copyright","valid",3589,5334,1,"1",0,,,"[""""]","media",0.8465527,,true,,,,,,,,,,,,,,,,,,,,, "4064","Zia Corn Dance","Watercolor, tempera"," Drawings","9 13/16 x 6 in. (24.92 x 15.24 cm) (sheet)","Watercolor","North America","United States","Zia Pueblo","20th century","Not on View","20th century","Signature; Inscription Inscription verso, in ball point pen: [By Rafael Medina/Zia Pueblo/ San Ysidro, New Mexico/ Zia Corn Dance]","LR: [MEDINA]","","","","",,"Bequest of Virginia Doneghy","91.108.8","Artist: Rafael Medina (Teeyacheena)","Artist","American","American (Zia Pueblo), 1929 - 1998","%C2%A9 Rafael Medina","Arts of the Americas","In Copyright","valid",3194,4967,1,"1",0,,,"[""""]","media",0.8465527,,true,,,,,,,,,,,,,,,,,,,,, "4063","Woman Buffalo Dance","Watercolor, tempera"," Drawings","9 15/16 x 6 1/16 in. (25.24 x 15.4 cm) (sheet)","Watercolor","North America","United States","Zia Pueblo","20th century","Not on View","20th century","Signature; Inscription Inscription verso, in ball point pen: [Woman Buffalo Dance/Rafael Medina/Zia Pueblo]","LR: [MEDINA]","","","","",,"Bequest of Virginia Doneghy","91.108.7","Artist: Rafael Medina (Teeyacheena)","Artist","American","American (Zia Pueblo), 1929 - 1998","%C2%A9 Rafael Medina","Arts of the Americas","In Copyright","valid",3476,5334,1,"1",0,,,"[""""]","media",0.8465527,,true,,,,,,,,,,,,,,,,,,,,, "192","Medicine Box","Wood, metal hardware, velvet, pigment"," Woodwork","5 1/2 x 15 x 3 5/8 in. (13.97 x 38.1 x 9.21 cm)","Medicine Box","North America","United States",,"20th century","Not on View","20th century","","","","","small wooden box with hinged lid; metal handle, hinges and closure; decorated with painted and low relief carved flag and eagle on top, cross on PR side, feather fan on PL side, rattle and drum on front and feather fan and pipe (?) on back; glass and metal pendant portrait of Jesus attached to lid; lined with blue velvet","",,"The Dr. Frances E. Schaar Fund in memory of Leon and Anna Schaar","2000.5","","Artist",,,"","Arts of the Americas","Public Domain","valid",4973,3437,0,"1",0,,,"[""""]","media",0.83697087,,true,"[{""title"":""Ceremonial Object Container"",""_id"":""192"",""objectId"":""192"",""link"":""http://audio-tours.s3.amazonaws.com/p614.mp3"",""number"":""614"",""type"":""audio""}]",,,,,,,,,,,,,,,,,,,, "4860","Moses Xing the Delaware","Mixed media on canvas"," Paintings","96 x 283 in. (243.8 x 718.8 cm)","Painting","North America","United States",,"1990","Not on View","20th century","","","","","Abstraction. Mixed media on seven panels of canvas applied to one larger white canvas.","",,"The William Hood Dunwoody Fund","95.71","Artist: Larry Bell","Artist","American","American, born 1939","%C2%A9 Larry Bell %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright–Educational Use","valid",4896,1684,0,"1",0,,,"[""""]","media",0.6547786,,,,,,,,,,,,,,,,,,,,,,, "126248","Composite 4 (frayed)","Acrylic and oil on canvas over aluminum"," Paintings","48 × 39 1/2 × 1 1/4 in. (121.92 × 100.33 × 3.18 cm)","Painting","North America","United States",,"2016","Not on View","21st century","","","","","collaged pieces of paper covered in a thin layer of white media","","From ","Gift of Mary and Bob Mersky","2016.122.3","Artist: Kevin Appel","Artist","American","American, born 1967","%C2%A9 Kevin Appel","Global Contemporary Art","In Copyright","valid",8193,9796,1,"1",0,,,"[""""]","media",0.6515856,,,,,,,,,,,,,,,,,,,,,,, "109328","Alixa and Naima","Mixed media assemblage"," Collages / Assemblages","119 1/2 x 182 x 6 in. (303.53 x 462.28 x 15.24 cm)","Assemblage","North America","United States",,"2008","Not on View","21st century","","","","Street artist Swoon considers her work an addition to the naturally occurring collage of the city. She usually pastes her life-size, woodcut block print portraits directly onto a wall of a city street, enjoying the way it flakes and decays over time. In this multi-media piece, Swoon has transplanted a collaged cityscape into a gallery space by constructing a sculptural canvas out of salvaged urban materials. The scrap metal and wood wraps around a corner of the gallery, breaking the boundaries of traditionally hung artworks, and suggestive of a street setting. In much the same way that Swoon inscribes her subjects into the urban milieu, she has inscribed the urban milieu into a museum gallery. The two figures depicted in this sculpture are Brooklyn-based poets and fellow street artists Alixa and Naima, who together form the duo Climbing PoeTree. Known for using art and poetry as tools for education, community organizing, and social activism, Climbing PoeTree seeks to overcome destructive elements with creativity. The two women hold each other, eyes closed and unaware of the viewer, who has been allowed to share in this intimate, loving, and joyful moment.","five detaching sections of mixed media construction that is painted primarily maroon in center section with embracing couple","",,"Gift of Gordon Locksley and George T. Shea and the Ethel Morrison Van Derlip Fund","2012.117.2a-e","Artist: Swoon","Artist","American","American, born 1977","Copyright %C2%A9 2008 Swoon","Global Contemporary Art","In Copyright","valid",6127,4656,1,"1",1,,,"[""""]","media",0.61470294,true,,,,,,,,,,,,,,,,,,,,,, "126245","Untitled Composite","Oil and UV cured ink (printed images) on paper"," Paintings; Collages / Assemblages; Works on Paper","34 × 25 3/4 in. (86.36 × 65.41 cm) (image, sheet) 37 × 29 × 1 3/4 in. (93.98 × 73.66 × 4.45 cm) (outer frame)","Painting with collage","North America","United States",,"2016","Not on View","21st century","","","","","collaged pieces of paper covered in a thin layer of white media; float mounted in a white frame","The artist, Los Angeles; [Ameringer, McEnery & Yohe, New York, sold to Mersky, Nov. 2016]; Robert B. Mersky, Minneapolis; given to MIA, 2016.","From ","Gift of Mary and Bob Mersky","2016.122.2","Artist: Kevin Appel","Artist","American","American, born 1967","%C2%A9 Kevin Appel","Arts of the Americas","In Copyright","valid",6989,9105,1,"1",0,,,"[""""]","media",0.57012916,,,,,,,,,,,,,,,,,,,,,,, "136917","The Third Entity #10","Black graphite and Renaissance wax on Evolon fabric"," Drawings; Works on Paper","30 × 22 in. (76.2 × 55.88 cm) (sheet) 32 3/4 × 24 3/4 × 1 7/16 in. (83.19 × 62.87 × 3.65 cm) (outer frame)","Drawing","North America","United States",,"2016","Not on View","21st century","","","","One of a pair of Jack Whitten drawings (see 2019.132.8 on display nearby) from his “The Third Entity” series, it was completed in 2016, only two years before his death. Drawn in black graphite and wax on Evolon, a soft microfilament fabric, the monochromatic compositions suggest rising dust storms or views of earth made from orbiting satellites. Various lines intersect the nebulous images, which have the effect of focusing attention on the textured, material surfaces of the drawings, a key component of Whitten’s experimental approach. In social science, the concept of the “third entity” is defined as an invisible force created between you and another person, that exists independently of you and another person. Relationship = Person A + Person B + Third Entity (the relationship between Person A & B). By this interpretation, Whitten’s drawings are visual and conceptual representations of this intangible force that exists between all people, one that is both mutable and capricious.","Abstract black-and-white mixed media drawing; horizontal lines throughout; dense, black center; diagonal line from UL to LR","The artist, New York; [Hauser & Wirth, New York, sold to Mersky Feb. 1, 2017]; Robert B. Mersky, Minneapolis; given to MIA, 2019.","From The Third Entity series","Gift of Mary and Bob Mersky","2019.132.9","Artist: Jack Whitten","Artist","American","American, 1939–2018","%C2%A9 Jack Whitten Estate %2F Hauser %26 Wirth","Arts of the Americas","In Copyright","valid",5410,7416,1,"1",0,,,"[""""]","media",0.5684773,,,,true,true,,,,,,,,,,,,,,,,,, "137917","Meditation","Oil on canvas"," Paintings","72 1/8 × 29 3/8 in. (183.2 × 74.61 cm) (canvas) 31 1/8 × 73 5/8 × 2 in. (79.06 × 187.01 × 5.08 cm) (outer frame)","Painting","North America","United States",,"1980","Not on View","20th century","","","","","abstract image; series of vertical oblong shapes made up of squiggly lines; gradated mauve background, darker gray at the top; wavy horizontal lines at the bottom in orange pigments; light green bottom; staggered blue triangles in LRC and LLC; staggered yellow and orange squares in LLC; staggered purple rectangles in URC","","From ","Anonymous gift in memory of Kenji Nakahashi and in honor of Robert Cozzolino","2019.146.20","Artist: Kenji Nakahashi","Artist","Japanese (active United States)","Japanese (active United States), 1947 - 2017","%C2%A9 Kenji Nakahashi","Arts of the Americas","In Copyright","valid",9521,3923,1,"1",1,,,"[""""]","media",0.5399812,,,,,,true,,,,,,,,,,,,,,,,, "137875","Meditation","Colored pencil on paper"," Drawings","10 × 14 in. (25.4 × 35.56 cm) (mat)","Drawing","North America","United States",,"20th century","Not on View","20th century","","LLC in pencil: Kenji | LRC in pencil: Meditation","","","abstract image; vertical wavy black lines; pinkish ground with rounded horizon line; toned grey-blue sky; purple rectangle in URC; yellow square with orange top and right side, LRC; two black triangles resting on horizon line","","From ","Anonymous gift in memory of Kenji Nakahashi and in honor of Robert Cozzolino","2019.146.47","Artist: Kenji Nakahashi","Artist","Japanese (active United States)","Japanese (active United States), 1947 - 2017","%C2%A9 Kenji Nakahashi","Arts of the Americas","In Copyright","valid",4728,2767,1,"1",0,,,"[""""]","media",0.5399812,,,,,,true,,,,,,,,,,,,,,,,, "136916","The Third Entity #1","Black graphite and Renaissance wax on Evolon fabric"," Drawings; Works on Paper","30 × 22 in. (76.2 × 55.88 cm) (sheet) 32 13/16 × 24 3/4 × 1 7/16 in. (83.34 × 62.87 × 3.65 cm) (outer frame)","Drawing","North America","United States",,"2016","Not on View","21st century","","","","One of a pair of Jack Whitten drawings (see 2019.132.9) from his “The Third Entity” series, it was completed in 2016, only two years before his death. Drawn in black graphite and wax on Evolon, a soft microfilament fabric, the monochromatic compositions suggest rising dust storms or views of earth made from orbiting satellites. Various lines intersect the nebulous images, which have the effect of focusing attention on the textured, material surfaces of the drawings, a key component of Whitten’s experimental approach. In social science, the concept of the “third entity” is defined as an invisible force created between you and another person, that exists independently of you and another person. Relationship = Person A + Person B + Third Entity (the relationship between Person A & B). By this interpretation, Whitten’s drawings are visual and conceptual representations of this intangible force that exists between all people, one that is both mutable and capricious.","abstract black-and-white mixed media drawing; horizontal lines throughout dense black; several diagonal lines at bottom; light vertical impression of line on L with outline of oval at UL","The artist, New York; [Hauser & Wirth, New York, sold to Mersky Feb. 1, 2017]; Robert B. Mersky, Minneapolis; given to MIA, 2019.","From The Third Entity series","Gift of Mary and Bob Mersky","2019.132.8","Artist: Jack Whitten","Artist","American","American, 1939–2018","%C2%A9 Jack Whitten Estate %2F Hauser %26 Wirth","Arts of the Americas","In Copyright","valid",5450,7437,1,"1",0,,,"[""""]","media",0.40996948,,,,true,true,,,,,,,,,,,,,,,,,, "119599","Second-hand Reading","Single video projection with stereo audio"," Digital Art; Artist Installations; Time-based Media","7 minutes duration","Video installation","Africa","South Africa",,"2013","Not on View","21st century","Signature","on certificate of authenticity, in black: [W Kentridge]","","William Kentridge is an internationally renowned artist best known for his prints, drawings, and animated films. Second-hand Reading is an excellent example of Kentridge’s animation style, and his ongoing personal investigation of South Africa and its history of apartheid. It is a powerful artwork that explores race relations in South Africa through drawings, text, and music.","video with animated black and white images on the turning pages of a book; imagery includes man walking and birds; music with vocals; blue presentation box in the form of a book with text from a dictionary at interior; removable cardboard tray with Blu ray DVD and USB flash drive; gold USB drive tied to tan ribbon attached to left side of cardboard tray; WD TVLive streaming media player, power cord, remote and three brochures (technical and warranty guide, connection instructions and promotional brochure)","","From ","The William Hood Dunwoody Fund","2014.21","Artist: William Kentridge; Editor: Snezana Marovic; Composer: Music by Neo Muyanga","Artist","South African","South African, born 1955","%C2%A9 William Kentridge. All rights reserved.","Arts of Global Africa","In Copyright","valid",5476,3678,1,"1",0,,,"[""""]","media",0.39103317,,,,,,,true,true,"[{""title"":""Second-Hand Reading"",""_id"":""119599"",""objectId"":""119599"",""description"":""
Here’s a heavy question: How do you represent the trauma of history? The answer is usually uninspired: dreary, hard-to-watch images that don’t tell us anything new about suffering. Kentridge was more original. His animated video is an unusual, diary-like take on race relations during apartheid, the South African system of racial segregation that was the law of the land from 1948 to 1994. It is serious and meditative, yet engaging and hopeful. As a cartoon character, he makes, erases, and remakes drawings within an old how-to book to emphasize that there are no formulas, only change. The book’s pages turn, like the movement of time, to mournful music by South African composer Neo Muyanga.
"",""link"":""http://artstories.artsmia.org/#/o/119599"",""type"":""artstory""}]",,,,,,,,,,,,,, "139903","Keepsakes: Ann","Color lithograph, photolithograph, and intaglio and relief printed collagraph in yellow-orange, hand-stitched with embroidery thread"," Prints","29 × 41 3/8 in. (73.66 × 105.09 cm) (sheet)","Print","North America","United States",,"2021","Not on View","21st century","","LRC in pencil: Delita Martin 2021 | BC in pencil: \""Keepsakes: Ann\""","LLC in pencil: Archive 1/2 | Publisher\'s blindstamp, LLC: HP","Delita Martin is a Houston-based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black-and-white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand-stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","Mixed media bleed print employing a portrait hand-drawn by the artist on a ball grained plate, a collagraph plate made from an antique christening dress collected by the artist, a one-color background from a photolithography plate made with a drawing by the artist, and hand-stitching applied by the artist.","Highpoint Editions, Minneapolis (publisher); sold to Mia, 2021.","From Keepsakes","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.105.1.1","Artist: Delita Martin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1972","Copyright %C2%A9 Delita Martin%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",9289,6569,0,"1",0,,,"[""""]","media",0.37493744,,,,true,,,,,,,,,,,,,,,,,,, "139904","Keepsakes: Delita","Color lithograph, photolithograph, and intaglio and relief printed collagraph in yellow-orange, hand-stitched with embroidery thread"," Prints","29 × 41 3/8 in. (73.66 × 105.09 cm) (sheet)","Print","North America","United States",,"2021","Not on View","21st century","","LRC in pencil: Delita Martin 2021 | BC in pencil: \""Keepsakes: Delita\""","LLC in pencil: Archive 1/2 | Publisher\'s blindstamp, LLC: HP","Delita Martin is a Houston-based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black-and-white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand-stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","Mixed media bleed print employing a portrait hand-drawn by the artist on a ball grained plate, a collagraph plate made from an antique christening dress collected by the artist, a one-color background from a photolithography plate made with a drawing by the artist, and hand-stitching applied by the artist.","Highpoint Editions, Minneapolis (publisher); sold to Mia, 2021.","From Keepsakes","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.105.1.2","Artist: Delita Martin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1972","Copyright %C2%A9 Delita Martin%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",6617,9319,0,"1",0,,,"[""""]","media",0.37493744,,,,true,,,,,,,,,,,,,,,,,,, "139905","Keepsakes: Joyce","Color lithograph, photolithograph, and intaglio and relief printed collagraph in yellow-orange, hand-stitched with embroidery thread"," Prints","29 × 41 3/8 in. (73.66 × 105.09 cm) (sheet)","Print","North America","United States",,"2021","Not on View","21st century","","LRC in pencil: Delita Martin 2021 | BC in pencil: \""Keepsake: Joyce\""","LLC in pencil: Archive 1/2 | Publisher\'s blindstamp, LLC: HP","Delita Martin is a Houston-based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black-and-white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand-stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","Mixed media bleed print employing a portrait hand-drawn by the artist on a ball grained plate, a collagraph plate made from an antique christening dress collected by the artist, a two-color background from two photolithography plates made with drawings by the artist, and hand-stitching applied by the artist.","Highpoint Editions, Minneapolis (publisher); sold to Mia, 2021.","From Keepsakes","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.105.1.3","Artist: Delita Martin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1972","Copyright %C2%A9 Delita Martin%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",9329,6529,0,"1",0,,,"[""""]","media",0.37493744,,,,true,,,,,,,,,,,,,,,,,,, "139906","Keepsakes: Karen","Color lithograph, photolithograph, and intaglio and relief printed collagraph in yellow-orange, hand-stitched with embroidery thread"," Prints","29 × 41 3/8 in. (73.66 × 105.09 cm) (sheet)","Print","North America","United States",,"2021","Not on View","21st century","","LRC in pencil: Delita Martin 2021 | BC in pencil: \""Keepsakes: Karen\""","LLC in pencil: Archive 1/2 | Publisher\'s blindstamp, LLC: HP","Delita Martin is a Houston-based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black-and-white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand-stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","Mixed media bleed print employing a portrait hand-drawn by the artist on a ball grained plate, a collagraph plate made from an antique christening dress collected by the artist, a two-color background from two photo lithography plates made with drawings by the artist, and hand-stitching applied by the artist.","Highpoint Editions, Minneapolis (publisher); sold to Mia, 2021.","From Keepsakes","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.105.1.4","Artist: Delita Martin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1972","Copyright %C2%A9 Delita Martin%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",9340,6595,0,"1",0,,,"[""""]","media",0.37493744,,,,true,,,,,,,,,,,,,,,,,,, "139907","Keepsakes: Malayah","Color lithograph, photolithograph, and intaglio and relief printed collagraph in yellow-orange, hand-stitched with embroidery thread"," Prints","29 × 41 3/8 in. (73.66 × 105.09 cm) (sheet)","Print","North America","United States",,"2021","Not on View","21st century","","LRC in pencil: Delita Martin 2021 | BC in pencil: \""Keepsake: Malayah\""","LLC in pencil: Archive 1/2 | Publisher\'s blindstamp, LLC: HP","Delita Martin is a Houston-based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black-and-white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand-stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","Mixed media bleed print employing a portrait hand-drawn by the artist on a lithographic stone, a collagraph plate made from an antique baptism dress collected by the artist, a one-color background from a photolithography plate made with a drawing by the artist, and hand-stitching applied by the artist.","Highpoint Editions, Minneapolis (publisher); sold to Mia, 2021.","From Keepsakes","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.105.1.5","Artist: Delita Martin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1972","Copyright %C2%A9 Delita Martin%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",9289,6541,0,"1",0,,,"[""""]","media",0.37493744,,,,true,,,,,,,,,,,,,,,,,,, "139908","Keepsakes: Reneisha","Color lithograph, photolithograph, and intaglio and relief printed collagraph in yellow-orange, hand-stitched with embroidery thread"," Prints","29 × 41 3/8 in. (73.66 × 105.09 cm) (sheet)","Print","North America","United States",,"2021","Not on View","21st century","","LRC in pencil: Delita Martin 2021 | BC in pencil: \""Keepsakes: Reneisha\""","LLC in pencil: Archive 1/2 | Publisher\'s blindstamp, LLC: HP","Delita Martin is a Houston-based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black-and-white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand-stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","Mixed media bleed print employing a portrait hand-drawn by the artist on a ball grained plate, a collagraph plate made from an antique christening dress collected by the artist, a two-color background from two photolithography plates made with drawings by the artist, and hand-stitching applied by the artist.","Highpoint Editions, Minneapolis (publisher); sold to Mia, 2021.","From Keepsakes","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.105.1.6","Artist: Delita Martin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1972","Copyright %C2%A9 Delita Martin%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",9285,6537,0,"1",0,,,"[""""]","media",0.37493744,,,,true,,,,,,,,,,,,,,,,,,, "139909","Keepsakes: Trina","Color lithograph, photolithograph, and intaglio and relief printed collagraph in yellow-orange, hand-stitched with embroidery thread"," Prints","29 × 41 3/8 in. (73.66 × 105.09 cm) (sheet)","Print","North America","United States",,"2021","Not on View","21st century","","LRC in pencil: Delita Martin 2021 | BC in pencil: \""Keepsakes: Trina\""","LLC in pencil: Archive 1/2 | Publisher\'s blindstamp, LLC: HP","Delita Martin is a Houston-based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black-and-white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand-stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","Mixed media bleed print employing a portrait hand-drawn by the artist on a ball grained plate, a collagraph plate made from an antique christening dress collected by the artist, a one-color background from a photolithography plate made with a drawing by the artist, and hand-stitching applied by the artist.","Highpoint Editions, Minneapolis (publisher); sold to Mia, 2021.","From Keepsakes","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.105.1.7","Artist: Delita Martin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1972","Copyright %C2%A9 Delita Martin%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",9274,6542,0,"1",0,,,"[""""]","media",0.37493744,,,,true,,,,,,,,,,,,,,,,,,, "123220","Portrait of Sir John Medina","Engraving and Etching"," Prints","6 1/4 × 4 5/16 in. (15.88 × 10.95 cm) (image) 6 15/16 × 4 7/8 in. (17.62 × 12.38 cm) (sheet) 11 13/16 × 9 11/16 in. (30 × 24.61 cm) (mount)","Print","Europe","England",,"1749-1789","Not on View","18th century","Signature, and Inscription below image in black: Ipse. pinx T. Chambars Sculp. / SR. JOHN MEDINA | on mat in pencil: 45","See Inscription","","","head and shoulders portrait; facing left and looking over shoulder at viewer; long curly hair; loose coat and shirt withwhite collar; in oval frame","","From ","Gift of John Crosby","P.47.508","Engraver: Thomas A. E. Chambars; Painter: After Sir John Medina","Artist","British","British, 1724 - 1789","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.35844815,,,,,,,,,,,,,,,,,,,,,,, "95633","Sitting in Meditation","Ink and color on paper"," Paintings","62 1/2 x 35 15/16 in. (158.75 x 91.28 cm) (image) 106 3/4 x 35 1/8 in. (271.15 x 89.22 cm) (without roller)","Hanging scroll","Asia","China",,"1732","Not on View","18th century","","","","","seated figure in pink robes, LRC, under an overarcing rock with numerous holes; two long text blocks, ULC and URC; six seals","","From ","Gift of Ruth and Bruce Dayton","2005.9.2","Artist: Zhang Shiying","Artist",,,"","Asian Art","Public Domain","valid",2927,6922,0,"1",0,,,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "126288","Stick Man Medicine","Etching"," Prints; Works on Paper","3 3/8 × 2 5/16 in. (8.57 × 5.87 cm) (plate) 9 × 7 1/4 in. (22.86 × 18.42 cm) (sheet)","Print","North America","United States",,"1989","Not on View","20th century","","LRC in pencil: T.F.","LLC in pencil: 16/25","","various imagery; silhouette of horse's head with steam/smoke coming out of its nostrils in ULC; silhouette of leg in URQ; two empty cages carried by a partial stick figure with barbed wire wrapped around its body; human skeleton with silhouette of rabbit's head at left edge; ant, LRC","Janet Fleisher Investment Corp., Philadelphia; given to MIA, 2016.","From Dark Horses","Gift of Jill Bonovitz and Nancy Hellebrand in honor of their mother, Janet Fleisher","2016.121.11.10","Artist: Tony Fitzpatrick","Artist","American","American, born 1958","Copyright %C2%A9 Tony Fitzpatrick","Arts of the Americas","In Copyright","valid",4909,5861,1,"1",0,,,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "126289","Medicine Bird","Etching"," Prints; Works on Paper","3 7/16 × 2 5/16 in. (8.73 × 5.87 cm) (plate) 9 × 7 1/2 in. (22.86 × 19.05 cm) (sheet)","Print","North America","United States",,"1989","Not on View","20th century","","LRC in pencil: T.F.","LLC in pencil: 16/25","","various imagery; bird at center; ""MEDICINE"", written backwards, at top; plane in URC; silhouette of horse's head, URQ; silhouette of rabbit's head on a human skeleton holding an empty birdcage at left; crown, URC; buildings, LRC","Janet Fleisher Investment Corp., Philadelphia; given to MIA, 2016.","From Dark Horses","Gift of Jill Bonovitz and Nancy Hellebrand in honor of their mother, Janet Fleisher","2016.121.11.11","Artist: Tony Fitzpatrick","Artist","American","American, born 1958","Copyright %C2%A9 Tony Fitzpatrick","Arts of the Americas","In Copyright","valid",4926,5861,1,"1",0,,,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "121440","Medicine Spirit","Color lithograph with silver leaf (?)"," Prints","28 7/8 × 22 1/4 in. (73.34 × 56.52 cm) (image, sheet) 39 1/2 × 32 1/4 × 1 1/2 in. (100.33 × 81.92 × 3.81 cm) (outer frame)","Print","North America","United States",,"1981","Not on View","20th century","Signature, Title, Date, Edition and Stamp","bottom center, in pencil: [Seabourn \'81]; LRC, in pencil: [\""Medicine Spirit\""]","LLC, in pencil: [53/75]; LLC, impressed in paper: [(hand in a square)] and [S (in a wave?)]","","abstracted image; standing elderly woman with white hair and long white earrings, wearing a stylized blanket of multicolors shading into each other--white, pink, orange, green, blue, purple; owl perched on a round element (shield?) with three feathers--two are white a black, one is silver and black, with spots of black and white extending from feather tips; grey shaded background","","From ","Gift of David Laird and Helen Lauritzen Laird","2014.148.27","Artist: Burt D. Seabourn","Artist","American","American (Cherokee), born 1931","%C2%A9 1981 Burt D. Seaborn","Arts of the Americas","In Copyright","valid",7412,9113,1,"1",0,,,"[""""]","media",0.34118032,,true,,,,,,,,,,,,,,,,,,,,, "121094","Navajo Medicine Man","Etching"," Prints","9 13/16 × 7 7/8 in. (24.92 × 20 cm) (plate) 10 5/16 × 7 15/16 in. (26.19 × 20.16 cm) (sight) 21 1/8 × 17 3/16 × 13/16 in. (53.66 × 43.66 × 2.06 cm) (outer frame)","Print","North America","United States",,"1925","Not on View","20th century","Signature","LRC, in pencil: Carl Oscar Borg.","","","portrait of a Native American man wearing a headband and many beaded necklaces, looking toward PL","",,"Gift of Vanessa Laird and Timothy Raylor","2014.149.77","Artist: Carl Oscar Borg","Artist","American (born Sweden)","American (born Sweden), 1879–1947","","Arts of the Americas","No Copyright–United States","valid",5893,7230,0,"1",0,,,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "1877","A View of the Mediterranean","Gouache on paper"," Drawings; Works on Paper","15 1/4 x 20 3/8 in. (38.74 x 51.75 cm) (image)","Drawing","Europe","England",,"1970","Not on View","20th century","Titled in pencil, LL margin: A View of the Mediterranean","Signed and dated in pencil, LR margin: D. Binder 1970","","","","[The Martin Gallery, MInneapolis]; sold to MIA, 1971.",,"The Ethel Morrison Van Derlip Fund","71.63","Artist: Douglas Binder","Artist","British","British, born 1941","%C2%A9 Douglas Binder","European Art","In Copyright","valid",4277,3260,1,"1",1,,,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "7216","Cosmo I de' Medici","Engraving"," Prints","16 3/4 x 11 3/4 in. (42.55 x 29.85 cm) (image)","Print","Europe","Italy",,"1544","Not on View","16th century","Signature","In plate","","In 1544, the year this engraving was made, Duke Cosimo I de' Medici had just conquered Florence and was set on ravaging Siena in his pursuit of the title Grand Duke of Tuscany. Here the unsettled and notoriously moody duke wears armor ornamented with symbols of the dynasty, certainly intended as a reminder of his strength and lineage. The beribboned diamond ring in the upper right corner was a Medicean emblem whose hardness connoted the durability of the family's reign, which lasted from the thirteenth to the seventeenth century.","","",,"Gift of Herschel V. Jones, 1926","P.10,879","Artist: Niccolo della Casa; Artist: after Baccio Bandinelli","Artist","Italian","Italian, active 1543 –1547","","European Art","Public Domain","valid",3522,5024,0,"1",0,"R-D 4 i/ii, Passavant VI.124.3",,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "15918","Medicine Bottle","Glass"," Glass","1 1/2 x 3 3/8 x 1 1/2in. (3.8 x 8.6 x 3.8cm)","Medicine Bottle","North America","United States",,"19th century","Not on View","19th century","","","","","Polygonal shape with short neck finished with narrow rim. Greenish blue glass.","",,"Gift of Russell A. Plimpton","38.11","","Artist",,,"","Arts of the Americas","Public Domain","valid",2546,2677,0,"1",0,,,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "55928","Philosopher in Meditation","Wood engraving, India proof"," Prints","5 5/16 x 6 5/16 in. (13.49 x 16.03 cm) (image) 9 5/8 x 12 3/16 in. (24.45 x 30.96 cm) (sheet)","Print","North America","United States",,"1893","Not on View","19th century","\""76\"" center at side of sheet, penciled","In plate, on sheet","","","","","From Dutch and Flemish Masters","Gift of Mrs. George P. Douglas, 1929","P.11,160","Artist: Timothy Cole; Artist: after Rembrandt van Rijn","Artist","American","American, 1852-1931","","Arts of the Americas","No Copyright–United States","valid",6200,4936,0,"1",0,"Smith 263",,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "45776","Meditation Stool","Huang-hua-li hardwood"," Furniture","20-15/16 x 27-1/2 x 27-1/2 in. (53.2 x 69.9 x 69.9 cm)","Meditation Stool","Asia","China",,"17th century","Not on View","17th century","","","","Meditation platforms evolved from Chinese antiquity as honorary seats of rulers, sages, and important members of society. The importation of Buddhism in the second century, with its focus on meditation, created a new demand for wide, elevated platforms that could accommodate a person seated in the meditative lotus position. The basic design of this large, square stool is inspired by bamboo furniture. Certain stylistic features inherent in bamboo construction are carried over into the hardwood frame. Imitating bamboo, all members of the stool are round. The round corners of the seat frame and leg-encircling stretchers that appear to wrap around each leg are a direct reference to bamboo furniture wherein single lengths of bamboo would have been bent and wrapped around all four legs with the aid of steam or heat. The simplicity of design seen here is appropriate to the purity, clarity, and humility of meditation.","rounded corners; round legs; openwork apron with 2 vertical elements on each side; original matting?","",,"Gift of Ruth and Bruce Dayton","2001.156.1","","Artist",,,"","Asian Art","Public Domain","valid",2704,2756,0,"1",0,,,"[""""]","media",0.34118032,,,,,,,,,,,,,,,,,,,,,,, "109170","Three Women","Color high-definition video on plasma display"," Digital Art; Time-based Media","61 3/16 x 36 3/8 x 5 in. (155.45 x 92.46 x 12.7 cm)","Video","North America","United States",,"2008","Not on View","21st century","","","","Three Women is part of the “Transfigurations” series by internationally acclaimed video artist Bill Viola. Transfiguration is generally defined as “an exalting, glorifying, or spiritual change.” In this work, the mother and her daughters enact a transfiguration when they choose to pass through the threshold of water and briefly enter an illuminated realm. By exploring such universal human experiences as spirituality, birth, and death, Viola’s videos communicate to a wide audience, allowing viewers to engage with the work in their own personal ways.","black Electrosonic MS9500GL HD FrEND plus video player; power supply, power cord, adapter; 9:06 minutes long In black archival clamshell box: Certificate of Authenticity Equipment List Installation Plans and Instructions HD Cam Master Tape Backup Disc of HD Video Media (copies of all documents in object file) Installation and technical requirements: see notes","","From ","Gift of funds from Alida Messinger","2010.97","Artist: Bill Viola; Artist: Performed by Anika Ballent; Artist: Performed by Cornelia Ballent; Artist: Performed by Helena Ballent","Artist","American","American, born 1951","%C2%A9 2008 Bill Viola Studio LLC","Global Contemporary Art","In Copyright","valid",2134,3021,1,"1",0,,,"[""""]","media",0.33309078,,,,,,,,,,,,,,,,,,,,,,, "5344","Boîte-en-Valise (Box in a Valise) / De ou par Marcel Duchamp ou Rrose Sélavy (From or by Marcel Duchamp or Rrose Sélavy)","Linen-covered box containing mixed media assemblage/collage of miniature replicas, photographs, and color reproductions of works by Duchamp"," Multiples","16 x 14 3/4 x 3 3/16 in. (40.64 x 37.47 x 8.1 cm)","Multiple","Europe","France",,"conceived 1936-1941; assembled 1961","Not on View","20th century","","Inside bottom of box, blue ink: Marcel Duchamp I Lower back of largest removable panel, which serves as the title page when the box is opened, printed in black ink at : De ou par / MARCEL DUCHAMP / ou / RROSE SÉLAVY","","Box in a Valise is essentially a miniature portable museum of the work of Marcel Duchamp. It consists of sixty-eight separate photographic reproductions and three-dimensional replicas of the artist’s most important works. Based on an idea Duchamp developed in 1936, the first boxes were assembled by Duchamp in 1941 and smuggled out of France during the Nazi occupation of that country. In an era of mass emigration and political terror, the idea of packing up all of one’s artworks in a suitcase would have seemed particularly practical. Similar to a museum installation, each work has a label identifying its title, medium, date, and, in many cases, its owner. Here, Duchamp reflects on the very nature of art, self-consciously raising questions about authenticity, authorship, the aura of the unique object, and the authority of the museum as arbiter of taste and knowledge. Assembled in 1961, this copy of Box in a Valise is one of three hundred produced by Duchamp or his relatives between 1941 and 1971.","Editioned artist multiple, Series D (1961); 'Duchamp's miniature museum' containing replicas of objects and printed reproductions of works in all media by the artist; three sliding panels, one wood stand; four three-dimensional objects; portfolio of folders (27 pages) inside inner compartment; outside light green linen, lining light green Ingres paper; box contains 68 items. No outer leather case (valise), as published.","(Timothy Baum, New York); sold to MIA, 1997.","From Series D","The William Hood Dunwoody Fund","97.20.2","Artist: Marcel Duchamp; Publisher: Marcel Duchamp; Fabricator: Assembled by Jacqueline Monnier , Paris","Artist","American (born France)","American (born France), 1887–1968","%C2%A9 Succession Marcel Duchamp %2F ADAGP%2C Paris %2F Artists Rights Society %28ARS%29%2C New York 2017","European Art","In Copyright","valid",4967,3816,1,"1",1,"Schwarz 484",,"[""""]","media",0.33153337,,,,,,,,,,,,,,,,,,,,,,, "5995","Dining chair","Oak, laminated wood, simulated leather upholstery, jute webbing"," Furniture","50 3/16 x 20 5/16 x 18 1/2 in. (127.48 x 51.59 x 46.99 cm)","Dining chair","North America","United States",,"1910","G300","20th century","","","","In 1909, architects Purcell and Feick visted Mrs. T.B. Keith to discuss modernizing her nineteenth century home in Eau Claire, Wisconsin. In 1910, George Elmslie designed a dining room suite, including a table and at least eight chairs, that undoubtedly gave the Keith home a contemporary feel. The elaborate seat back of this chair demonstrates Elmslie's facility at translating stylized organic ornament into sawed wood. Elmslie produced similar suites for other clients, including himself and E.L. Powers of Minneapolis. The Keith's suite, however, is the only one known to survive intact, having remained in the family until its donation to The Minneapolis Institute of Arts. [insert photo of table and 5 chairs here - MIA media #38478]","Tall-backed chair with geometric and organic openwork design on chairback; brown leather seat cover","","From the T.B. Keith House, Eau Claire, Wisconsin (demolished c. 1960); Purcell and Feick, architects","Gift of T. Gordon and Gladys P. Keith","99.62.6","Designer: George Grant Elmslie","Artist","American (born Scotland)","American (born Scotland), 1869–1952","","Arts of the Americas","No Copyright–United States","valid",2117,1920,0,"1",0,,,"[""10038"",""10039"",""10040"",""5995"",""8419"",""8420"",""8421"",""8422""]","media",0.28295308,,,"[{""title"":""Purcell & Elmslie, Dining Chair"",""_id"":""5995"",""objectId"":""5995"",""link"":""http://audio-tours.s3.amazonaws.com/p259.mp3"",""number"":""259"",""type"":""audio""}]",,,,,,,,,,,,,,,,,,,, "45278","Cologne bottle","Blown and cut glass with encased sulphide"," Glass","6 x 4 x 2 3/4 in. (15.2 x 10.2 x 7 cm)","Cologne bottle","Europe","England",,"c. 1830","Not on View","19th century","","","","Copies of Wedgwoods's anti-slavery medallion circulated in many different media as evidenced by this cologne bottle, which was likely produced around 1833, the year that Britain formerly abolished slavery with the passage of the Slavery Abolition Act. The image would have been well known to Ary Scheffer as he composed his first version of Christus Consolator in 1837.","clear glass; pillar cut with diamonds cut in alternating ribs; starburst on bottom; cameo incrustation decoration of a kneeling supplicant slave in chains","",,"Gift of the Decorative Arts Council","2001.40a,b","Manufacturer: Attributed to Falcon Glassworks of Apsley Pellatt","Artist","London","London, c. 1791-1890","","European Art","Public Domain","valid",2032,3056,0,"1",0,,,"[""""]","media",0.28144878,,,"[{""title"":""Cologne Bottle Falcon/Apsley"",""_id"":""45278"",""objectId"":""45278"",""link"":""http://audio-tours.s3.amazonaws.com/p294.mp3"",""number"":""294"",""type"":""audio""}]",,,,,,,,,,,,,,,,,,,, "64102","Safe and Effective Medication","Color lithograph"," Prints","29 1/16 x 29 1/16 in. (73.82 x 73.82 cm) (image) 35 9/16 x 35 1/16 in. (90.33 x 89.06 cm) (sheet)","Print","North America","United States",,"2001","Not on View","21st century","Signature, Date, Edition, Inscription and Chop Mark see Signed Printed inscription as part of image: [SAFE / AND / EFFECTIVE / MEDICATION]","LRC below image, in pencil: Ed Ruscha 2001","Numbered in pencil, LLC: 23/32 LLC below image, publisher\'s blindstamp: A (with a line over top)","","blue and black blurry clouds or smoke; white block letter on top of image: ""SAFE / AND / EFFECTIVE / MEDICATION""","Akasha Studio, Minneapolis (publisher); sold to MIA, 2003.","From ","The Dolly J. Fiterman Fund","2003.7","Artist: Edward Ruscha; Publisher: Akasha Studio, Minneapolis , Minneapolis; Printer: Steven M. Andersen","Artist","American","American, born 1946","%C2%A9 Ed Ruscha","Arts of the Americas","In Copyright","valid",3352,3306,1,"1",1,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "106159","Page from the Materia Medica","Opaque watercolor on paper"," Paintings","11 1/4 x 7 15/16 in. (28.6 x 20.1 cm)","Page from the Materia Medica","Asia",,,"1224","Not on View","13th century","Untranslated Arabic","","","This page has survived from an Arabic translation of the Materia Medica, a treatise on the use of the medicinal herbs and plants written in the first century by Dioscurides, a Greek physician living in Asia Minor. The original work was a favorite text of the Abbasid caliphs, the temporal successors of Muhammad; from the eighth century on, they had several copies made for their libraries in Baghdad. The schematically drawn plants, rendered in black, sepia, and green, are realistic enough to be identified. Numerous quasi-scientific texts such as this, as well as history, philosophy, and other subject matter of Greco-Roman origin, were preserved in translation within the great Islamic libraries of the Middle East throughout the Dark Ages. These libraries became important sources for ancient Western literature, beginning with the Italian Renaissance.","","","From ","Bequest of Mrs. Margaret McMillan Webber in memory of her mother, Katherine Kittredge McMillan","51.37.13","","Artist",,,"","Asian Art","Public Domain","valid",3514,5463,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "114311","Saint Thomas Aquinas in Meditation","Black and white chalk on blue paper"," Drawings","9 9/16 x 8 9/16 in. (24.29 x 21.75 cm) (irregular)","Drawing","Europe","Italy",,"17th century","Not on View","17th century","Inscription on back, in pencil: [315], [LO (?)], [13/16], [P] and [Cavedore]","","","","head and torso of a man wearing a heavy garment, with PR elbow resting on a stack of books, head in hand; PL hand also rests on books; face sketchy--drapery study; corners clipped","Sale, Sotheby's, London, July 4, 1975, no. 123, for £85, to Moir; Alfred Moir, Santa Barbara (1975-d. 2010; bequeathed to MIA)","From ","Bequest of Professor Alfred Moir","2012.58.143","Artist: Circle of Giacomo Cavedone","Artist","Italian (Bologna)","Italian (Bologna) 1577-1660","","European Art","Public Domain","valid",7219,7806,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "137681","Untitled [motif from ""Meditation""]","Colored pencil, pencil, and ink on paper"," Drawings","4 3/4 × 8 in. (12.07 × 20.32 cm) (sheet)","Drawing","North America","United States",,"20th century","Not on View","20th century","","","","","recto: pair of overlapping blue shaded diamonds with vertical wavy lines, ULC; grey square with scalloped edges, one green-bordered vertical wavy line, and one pink-bordered vertical wavy line with Japanese and English text, in LLC; black diamond connected with grey shaded rectangle, URC; grey diamond at half-shaded sideways rectangle in LRQ; numbers and Japanese text in URQ; verso: English text and math equations with rectangle","","From ","Anonymous gift in memory of Kenji Nakahashi and in honor of Robert Cozzolino","2019.146.83.2","Artist: Kenji Nakahashi","Artist","Japanese (active United States)","Japanese (active United States), 1947 - 2017","%C2%A9 Kenji Nakahashi","Arts of the Americas","In Copyright","valid",5376,3191,1,"1",0,,,"[""""]","media",0.27491337,,,,,,true,,,,,,,,,,,,,,,,, "137682","Untitled [motif from ""Meditation""]","Colored pencil and pencil on paper"," Drawings","5 × 7 7/8 in. (12.7 × 20 cm) (sheet)","Drawing","North America","United States",,"20th century","Not on View","20th century","","","","","shaded grey diamond with horizontal wavy lines; wavy line connecting top of diamond to bottom along right side; black field on verso/photocopy/scratch paper","","From ","Anonymous gift in memory of Kenji Nakahashi and in honor of Robert Cozzolino","2019.146.83.3","Artist: Kenji Nakahashi","Artist","Japanese (active United States)","Japanese (active United States), 1947 - 2017","%C2%A9 Kenji Nakahashi","Arts of the Americas","In Copyright","valid",5227,3297,1,"1",0,,,"[""""]","media",0.27491337,,,,,,true,,,,,,,,,,,,,,,,, "137680","Untitled [motif from ""Meditation""]","Colored pencil and pencil on paper"," Drawings","2 1/16 × 2 1/2 in. (5.24 × 6.35 cm) (sheet, irregular)","Drawing","North America","United States",,"20th century","Not on View","20th century","","","","","diamond with grey-purple shading and vertical wavy lines; brown triangle at LL side of diamond; black and grey bordered triangle at UR side of diamond; text on back of sheet/scratch paper","","From ","Anonymous gift in memory of Kenji Nakahashi and in honor of Robert Cozzolino","2019.146.83.1","Artist: Kenji Nakahashi","Artist","Japanese (active United States)","Japanese (active United States), 1947 - 2017","%C2%A9 Kenji Nakahashi","Arts of the Americas","In Copyright","valid",1864,1519,1,"1",0,,,"[""""]","media",0.27491337,,,,,,true,,,,,,,,,,,,,,,,, "121107","Horace Se-i-se-ta, Hopi Medicine Man","Woodcut on pale brown paper"," Prints","10 1/16 × 8 11/16 in. (25.56 × 22.07 cm) (image) 10 13/16 × 8 7/8 in. (27.46 × 22.54 cm) (sight) 21 1/8 × 17 1/8 × 7/8 in. (53.66 × 43.5 × 2.22 cm) (outer frame)","Print","North America","United States",,"c. 1945","Not on View","20th century","LLC, in pencil: For my friend Edward Connaughton / Christmas 1945 -","LRC, in pencil: Carl Oscar Borg.","","","portrait of a wrinkled Native American man with shoulder-length hair wearing a headband, with head turned toward PL","",,"Gift of Vanessa Laird and Timothy Raylor","2014.149.79","Artist: Carl Oscar Borg","Artist","American (born Sweden)","American (born Sweden), 1879–1947","","Arts of the Americas","No Copyright–United States","valid",5943,7614,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "106565","Survival: Nature/Medicine","Color lithograph with chine colle"," Prints","36 1/4 x 24 11/16 in. (92.08 x 62.71 cm)","Print","North America","United States","Salish, Nehiiyawak and Aqui-Dika (Salish-Cree-Lemhi Shoshone)","1996","Not on View","20th century","on back, LLC, in pencil: JQTS 944B","LRC, in pencil: Jaune Q T S Smith","LLC, in pencil: 35/50; LRC, stamped in paper: linear symbol; on back, LRC, stamped in grey: Published By / ZANATTA / EDITIONS","Jaune Quick-to-See Smith combines her Native aesthetic with abstraction found in Western art. She adeptly mixes text and imagery to inject subtle hints or overt references to subjects she wants her viewers to consider. The lithographs in Smith’s four-part Survival series are named for Native social models that have given Indigenous people resilience, allowing them to survive the severe disruption brought about by colonialism. The other subjects in the series are Wisdom/Knowledge, Tribe/Community, and Humor.","grey images in background of Native Americans on horses, butterfly, flowers, turkey, bird, figures of various sizes and stockings; abstracted red running figure in front/foreground, left; black tree-like image at center; red and black seated figure playing a flute at right center; ""NATURE"" and ""MEDICINE"" in grey at left and right edges","Zanatta Editions, Shawnee, Kansas (publisher); [Joe Zanatta Contemporary Art, Shawnee, Kansas]; sold to MIA, 2008.","From Survival suite","The Patricia and Peter Frechette Endowment Fund and the James and Maureen Duffey Endowment for Prints and Drawings","2008.66.2","Artist: Jaune Quick-to-See Smith; Publisher: Zanatta Editions, Shawnee, Kansas","Artist","American (Salish, Nehiiyawak and Aqui-Dika)","American (Salish, Nehiiyawak and Aqui-Dika), born 1940","%C2%A9 Jaune Quick-to-See Smith%2C Courtesy the artist and Garth Greenan Gallery%2C New York","Global Contemporary Art","In Copyright–Educational Use","valid",4823,6826,0,"1",1,,,"[""""]","media",0.27491337,true,true,,,,,,,,,,,,,,,,,,,,, "3610","A Medicine Head-Dress--Blackfoot","Photogravure"," Photographs","15 7/16 x 11 3/8 in. (39.21 x 28.89 cm) (image) 21 7/8 x 17 7/8 in. (55.56 x 45.4 cm) (sheet)",,"North America","United States",,"1926","Not on View","20th century","","","","","","","From Plate 638, from ""The North American Indian""","Gift of Joe Langer","87.60.23","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Arts of the Americas","No Copyright–United States","valid",2665,3607,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "1188","Page from the Materia Medica","Ink and color on paper"," Paintings","11 9/16 x 8 in. (29.4 x 20.3 cm)","Page from the Materia Medica","Asia",,,"1224","Not on View","13th century","","","","This page has survived from an Arabic translation of the Materia Medica, a treatise on the use of the medicinal herbs and plants written in the first century by Dioscurides, a Greek physician living in Asia Minor. The original work was a favorite text of the Abbasid caliphs, the temporal successors of Muhammad; from the eighth century on, they had several copies made for their libraries in Baghdad. The schematically drawn plants, rendered in black, sepia, and green, are realistic enough to be identified. Numerous quasi-scientific texts such as this, as well as history, philosophy, and other subject matter of Greco-Roman origin, were preserved in translation within the great Islamic libraries of the Middle East throughout the Dark Ages. These libraries became important sources for ancient Western literature, beginning with the Italian Renaissance.","","",,"Bequest of Mrs. Margaret McMillan Webber in memory of her mother, Katherine Kittredge McMillan","51.37.12","","Artist",,,"","Asian Art","Public Domain","valid",3642,5220,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "5071","Medicine Bags, Piegan","Photogravure"," Photographs","7 1/4 x 5 in. (18.42 x 12.7 cm) (image) 12 5/8 x 9 1/2 in. (32.07 x 24.13 cm) (sheet)",,"North America","United States",,"1911","Not on View","20th century","Title; Inscription","","printed at LLC \'MEDICINE-BAGS-PIEGAN\' and at lower center \'From Copyright Photograph 1911 by E.S. Curtis\'","","","","From ""The North American Indian""","Gift of Film in the Cities","96.37.14","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Arts of the Americas","No Copyright–United States","valid",2666,3847,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "10341","May (Kusudama: Medicine Balls)","Hanging scroll; color on silk"," Paintings","40 1/2 x 14 in. (102.87 x 35.56 cm)","Hanging scroll","Asia","Japan",,"c. 1910","Not on View","20th century","","蕾斎 {Raisai}","","","one of a group of nine hanging scroll paintings.","",,"Anonymous Gift","87.27.3","Artist: Suzuki Toshimoto","Artist","Japanese","Japanese, act. c. 1877-98","","Asian Art","No Copyright–United States","valid",3620,5521,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "36118","Indian Doctor Concocting a Pot of Medicine","Watercolor"," Drawings","6 3/4 × 8 3/4 in. (17.1 × 22.2 cm) (image) 9 3/4 × 12 15/16 in. (24.8 × 32.9 cm) (sheet) 17 9/16 × 21 1/2 × 1 1/8 in. (44.6 × 54.6 × 2.9 cm) (outer frame)","Drawing","North America","United States",,"1849-1855","Not on View","19th century","Title and Inscription Lower center (slightly off center), below image, in brown ink: [INDIAN DOCTOR CONCOCTING A POT OF MEDICINE]","LL, below image, in brown ink: [S. Eastman U.S. Army Delt.]","","Like other American artists of the Romantic era, Seth Eastman occasionally idealized Native people. Here he gave a chanting, rattle-shaking healer the form of a classical hero, drawing on the sculptures and paintings he would have studied at West Point, possibly a cast of the Belvedere Torso (1st century C.E., Vatican Museums). Such parallels were meant to satisfy the 19th-century viewer’s longing to escape to a simpler, purer time, while conferring moral virtue on the figure. Other details show Eastman’s gift for observation. The woven basket may be for medicinal herbs, the little five-sided pouch for paint. The creature (maybe a opossum or otter) slung over the post is part of the healing process, as is the bird near the healer’s knee. This watercolor, one of 35 works on paper by Eastman in Mia’s collection, was the basis for an illustration in Henry Rowe Schoolcraft’s massive ""Historical and Statistical Information Respecting the History, Condition, and Prospects of the Indian Tribes of the United States"" (Philadelphia: Lippincott, Grambo & Co., 1851-57).","","James J. Hill (St. Paul, 1838-1916); his estate; James Jerome Hill Reference Library St. Paul (by 1921-1994; sold October, to MacMillan); W. Duncan MacMillan, Wayzata (1994-d. 2006); the W. Duncan and Nivin MacMillan Foundation (2006-2014; given to MIA)",,"Gift of the W. Duncan and Nivin MacMillan Foundation","2014.31.10","Artist: Seth Eastman","Artist","American","American, 1808–1875","","Arts of the Americas","Public Domain","valid",7151,5761,0,"1",1,"Seth Eastman: A Portfolio of North American Indians 29",,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "36158","Medicine Man Curing a Patient","Watercolor"," Drawings","7 7/8 × 6 3/4 in. (20 × 17.1 cm) (image) 7 3/4 × 6 11/16 in. (19.7 × 17 cm) (sheet) 21 1/2 × 17 9/16 × 1 1/8 in. (54.6 × 44.6 × 2.9 cm) (outer frame)","Drawing","North America","United States",,"1850","Not on View","19th century","Inscription","LLC, in brown ink: [S.E. 1850]","","U.S. Army Captain Seth Eastman was a trained artist who served twice on the frontier at Minnesota’s Fort Snelling, from 1830 to 1832 and again from 1841 to 1848. His extensive firsthand, peaceful encounters with Native Americans gave him extraordinary opportunities to observe their customs and practices, which he documented in his art. He became known as the “pictorial historian of the Indian.” This watercolor belongs to a series that he made between 1849 and 1855 to illustrate Henry Rowe Schoolcraft’s massive survey, ""Historical and Statistical Information Respecting the History, Condition and Prospects of the Indian Tribes of the United States"" (Philadelphia: Lippincott, Grambo & Co., 1851-57). Mia’s 35 watercolors and drawings for the project represent an astounding array of subjects: muskrat hunting, fish spearing, pest control, rice gathering, maple sugaring, shelter, travel, medicine, mourning, dancing, civics, and topography. With such variety and Eastman’s well-informed clarity of depiction, they constitute an unparalleled visual account of native ways in our region.","","James J. Hill (St. Paul, 1838-1916); his estate; James Jerome Hill Reference Library St. Paul (by 1921-1994; sold October, to MacMillan); W. Duncan MacMillan, Wayzata (1994-d. 2006); the W. Duncan and Nivin MacMillan Foundation (2006-2014; given to MIA)",,"Gift of the W. Duncan and Nivin MacMillan Foundation","2014.31.19","Artist: Seth Eastman","Artist","American","American, 1808–1875","","Arts of the Americas","Public Domain","valid",5240,6060,0,"1",0,"Seth Eastman: A Portfolio of North American Indians 20",,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "81685","'Medical Donation"" still bank","Tin, pigment"," Dolls, Toys and Games","6 7/16 x 2 9/16 x 1 5/8 in. (16.35 x 6.51 x 4.13 cm)","'Medical Donation"" still bank","Europe","England",,"c. 1925","Not on View","20th century","","","","","bottle-shaped with ""cork"" stopper; brown ""medicine"" inside a green ""bottle""; yellow label: ""Donation to be given frequently. / Sick and Suffering in Heathen Lands. / C.M.S. Medical Mission Auxiliary, / Salisbury Square, London, E.C.""","",,"Gift of Katherine Kierland Herberger","2003.236.249","","Artist",,,"","Arts of the Americas","Public Domain","valid",1490,2613,0,"1",0,,,"[""""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "55385","Jan Antonides Von Der Linden, Professor of Medicine","Etching and drypoint"," Prints","4 15/16 x 4 1/8 in. (12.6 x 10.5 cm) (sheet)","Print","Europe","The Netherlands",,"1665","Not on View","17th century","","","","","","H. Danby Seymour, black stamp verso (L. 176).",,"The William M. Ladd Collection Gift of Herschel V. Jones, 1916","P.1,318","Artist: Rembrandt van Rijn","Artist","Dutch","Dutch, 1606 - 1669","","European Art","Public Domain","valid",2233,2568,0,"1",0,"Hind 268 v/vi; B. 264; Mz.81 vi/vii; Holl. 264 v/v; B-B. 65-1 v/vi?",,"[""108011"",""55385""]","media",0.27491337,,,,,,,,,,,,,,,,,,,,,,, "137750","Untitled","Watercolor, ink, and pencil on paper"," Drawings","9 1/4 × 13 1/8 in. (23.5 × 33.34 cm) (sheet)","Drawing","North America","United States",,"20th century","G353","20th century","","","","Kenji Nakahashi worked across media throughout his career making images that were organic, based on nature but often embellished and transformed. This drawing conveys his personality and imagination well. Viewers confront an orange balloon propelled by the air expelled as it gradually deflates while soaring through the air. It appears alive – Kenji has given it a smiling face. What sound would it make' What will happen after it flies past'","recto: orange balloon with eyes, deflating and flying, with cloud of air behind it, against blue sky; verso: boxer seated in an armchair under a hooded hair dryer","",,"Anonymous gift in memory of Kenji Nakahashi and in honor of Robert Cozzolino","2019.146.67","Artist: Kenji Nakahashi","Artist","Japanese (active United States)","Japanese (active United States), 1947 - 2017","%C2%A9 Kenji Nakahashi","Arts of the Americas","In Copyright","valid",8493,6129,1,"1",1,,,"[""""]","media",0.27359435,,,,,,true,,,,,,,,,,,,,,,,, "1806","Portrait of Giovanni de’ Medici, called Giovanni dalle Bande Nere","Oil on panel"," Paintings","53 5/8 x 41 3/8 in. (136.21 x 105.09 cm) (panel)","Painting","Europe","Italy",,"c. 1565","G341","16th century","","","","Giovanni dalle Bande Nere (1498–1526), a celebrated condottiere of the papal mercenary forces, fought the invasion of the Italian peninsula by the Holy Roman Emperor Charles V. Giovanni died the year before Charles’s troops sacked Rome, in a battle outside Mantua. His remains were recently exhumed as part of an archaeological survey of the Medici family tombs. The study described the 28-year-old as “a vigorous man, with an athletic body, medium-sized skull, narrow nose…great physical strength and robusticity.” The muscles in his shoulders, legs, and feet confirmed he “was a highly skilled horseman,” while the wear and tear in his hips and back indicated he “had carried heavy loads since adolescence due to horse-riding and body armor.” Among many injuries, Giovanni’s right leg was amputated below the knee, likely the result of a cannonball hit. Gangrene followed, which killed the soldier after an agonizing three days. No lifetime portraits of the sitter are known, but he was painted many times posthumously to celebrate the Medici dynasty. Portelli’s portrait might have been made for the wedding of Francesco de’ Medici, Grand Duke of Tuscany, and Joanna of Austria, daughter of the Holy Roman Emperor Ferdinand I. The Italian wars of the 1520s, which had killed Giovanni when the Medici and Habsburg families were enemies, were allied through this 1565 marriage. The male and female herms in the background of the portrait, depicted with arms entwined and ivy climbing up the female figure’s body, may symbolize marital fidelity.","","",,"The Putnam Dana McMillan Fund","70.45","Artist: Attributed to Carlo Portelli","Artist","Italian (Tuscany)","Italian (Tuscany), c. 1510–1574","","European Art","Public Domain","valid",6056,7709,0,"1",1,,,"[""""]","media",0.27204508,,,,,,,,,,,,,,,,,,,,,,, "60157","Caretaker's Cottage in the Forest of Compiegne","Oil on canvas"," Paintings","45 1/4 x 58 in. (114.9 x 147.3 cm) (image) 58 3/4 x 71 in. (149.2 x 180.3 cm) (framed)","Painting","Europe","France",,"1826","G321","19th century","","[Paul Huet 1826]","","Paul Huet was a principal intermediary between the French and British landscape schools during the revolutionary decade of the 1820s. From 1822, he sketched in oil regularly in suburbs of Paris. In the year that this early masterwork was painted he was sharing a studio with Eugene Delacroix and Richard Parkes Bonington. This painting is Huet's most ambitious early work and a melange of the different styles that vied for his attention at this moment. The impression on Huet of the English landscapes shown at the 1824 Paris Salon, especially those of Bonington and John Constable, was profound, although he continually sought to temper the English manner with inspiration from a medley of old master sources, including Claude, Rubens, and Rembrandt. A number of similar subjects by Huet, in a variety of media, are known, yet this is the only one identifiable with a specific landscape site. During several centuries, the forest of Compiègne, northeast of Paris, was a royal hunting preserve, much like Windsor Great Park near London. The ""caretaker's cottage"" was the residence of the gamekeeper.","white cottage with slanted roof at L; trees behind - tallest with turning leaves; woman on path with a pony; figures at R by haystack","",,"The John R. Van Derlip Fund, by exchange","2001.233","Artist: Paul Huet","Artist","French","French, 1803–1869","","European Art","Public Domain","valid",3812,3031,0,"1",0,,,"[""""]","media",0.27165434,,,"[{""title"":""Huet, Caretakers Cottage"",""_id"":""60157"",""objectId"":""60157"",""link"":""http://audio-tours.s3.amazonaws.com/p038.mp3"",""number"":""038"",""type"":""audio""}]",,,,,,,,,,,,,,,,,,,, "96944","Medicine Box","Cedar, pigment, metal hardware, wool felt"," Woodwork","6 5/16 x 18 1/8 x 6 1/2 in. (16.03 x 46.04 x 16.51 cm) (closed)","Medicine Box","North America","United States",,"c. 1960","Not on View","20th century","","","","","hexagonal cross-section; low-relief applied and brightly painted peyote symbols on all five sides; drawer pull handle; lined with blue and red felt; hinged cover","","From ","Gift of Richard Pohrt, Jr.","2005.25.2","","Artist",,,"","Art of Africa and the Americas","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.2699906,,true,,,,,,,,,,,,,,,,,,,,, "47449","Meditation","Mezzotint"," Prints","7 7/8 x 6 1/16 in. (20 x 15.4 cm) (sheet)",,"Europe","England",,"18th century","Not on View","18th century","","","","","after Sir Joshua Reynolds","","From ","The William M. Ladd Collection Gift of Herschel V. Jones, 1916","P.3,463","Artist: William Ward; Artist: after Sir Joshua Reynolds","Artist","British","British, 1723–1792","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"3/0 07246",,"[""""]","media",0.2699906,,,,,,,,,,,,,,,,,,,,,,, "45262","Study of a Seated Nude","Lithograph"," Prints","13 1/16 x 10 in. (33.18 x 25.4 cm) (sheet)","Print","Europe","France",,"1904","Not on View","19th-20th century","Signature and Inscription LRC, in pencil: [334]; LLC, in pencil: [7]; on back, in pencil: [50554 / FEMME NUE ASSISE] and [9445]","LLC, in the image, in black: [Renoir]","","Pierre Auguste Renoir was celebrated for his depictions of the female nude and explored this subject in various media. He made this lithograph by drawing with a brush and diluted ink, capturing the soft contours of his model and enhancing the sensuality of his subject.","seated female nude in profile, with head turned to 3/4 view; another face in ULC","Edith and Norman Garmezy, Edina, MN; Garmezys acquired print from Gerhard Wurzer Gallery, Houston, in 1990",,"Gift of Edith and Norman Garmezy","2000.283.4","Artist: Pierre Auguste Renoir","Artist","French","French, 1841-1919","","European Art","No Copyright–United States","valid",3333,4363,0,"1",1,"Stella 43 II",,"[""""]","media",0.2455691,,,,,,,,,,,,,,,,,,,,,,, "122518","Medicine case with cranes and waves","Black lacquer with gold and silver maki-e and shell inlay; silk cord"," Accessories","2 3/4 × 2 3/16 × 15/16 in. (6.99 × 5.56 × 2.38 cm) (inro) 7 1/2 × 2 3/16 × 15/16 in. (19.05 × 5.56 × 2.38 cm) (including cord and netsuke )","Inrō and netsuke","Asia","Japan",,"1810s-1820s","Not on View","19th century","","on base: {Yōyūsai} | on body: (Brushed to special order by Hōitsu) | on netsuke: {Shin’yōsai Tōju}","on base: {kaō} | on body: {Monsen}","Inrō, sometimes called “medicine cases,” were used to carry a variety of small articles, not just medicine. The owner would typically hang an inrō over a sash worn at the waist. The inrō was connected by a cord to a counterweight, called a netsuke, which kept it from falling off. This lacquer inrō was produced by Hara Yōyūsai who decorated it with a motif of cranes and waves designed by the Rinpa painter, Sakai Hōitsu.","inro with four sections, depicting three cranes flying together to UR; stylized lines on opposite side, reminiscent of clouds or waves; presently connected with purple cord, orange ojime, and black lacquered netsuke","Mr. and Mrs. Minoru Hosomi (gifted in 1987); Mary Burke (1987-2015)","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.424.1a-f","Artist: Hara Yōyūsai; Designer: Sakai Hōitsu","Artist","Japanese","Japanese, 1761 - 1828","","Asian Art","Public Domain","valid",2712,1775,0,"1",0,"Murase, Art through a Lifetime, no. 804",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49044","Plate 13 from the Life of Ferdinand I de Medicis","Engraving"," Prints","8 7/8 x 11 13/16 in. (22.54 x 30 cm) (image) 10 1/2 x 14 1/8 in. (26.67 x 35.88 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","","From ","The John R. Van Derlip Fund","P.68.75","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5482,0,"1",0,"M. 546; L.159 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49046","Plate 15 from the Life of Ferdinand I de Medicis","Engraving"," Prints","7 3/4 x 11 1/2 in. (19.69 x 29.21 cm) (image) 9 9/16 x 14 1/16 in. (24.29 x 35.72 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","","From ","The John R. Van Derlip Fund","P.68.77","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5482,0,"1",0,"M. 548; L.1616 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "3969","Meditation, Jay Cooke State Park, Minnesota","Gelatin silver print"," Photographs","15 1/4 x 19 1/4 in. (38.74 x 48.9 cm) (image) 15 7/8 x 19 7/8 in. (40.32 x 50.48 cm) (sheet)",,"North America","United States",,"1973","Not on View","20th century","","","","","","",,"Gift of the artist","90.39","Photographer: Will M. Agar","Artist","American","American, born 1950","%C2%A9 Will Agar","Arts of the Americas","In Copyright–Educational Use","valid",2414,1920,0,"1",0,,,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "4595","Medical Arts Building, Minneapolis, Minnesota","Gelatin silver print"," Photographs","21 7/8 x 13 7/8 in. (55.56 x 35.24 cm) (image) 23 13/16 x 19 15/16 in. (60.48 x 50.64 cm) (sheet)",,"North America","United States",,"1980","Not on View","20th century","","","","","","",,"Gift of Lora and Martin G. Weinstein","93.70.23","Photographer: Thomas F. Arndt","Artist","American","American, born 1944","%C2%A9 Tom Arndt","Arts of the Americas","In Copyright–Educational Use","valid",2480,3698,0,"1",0,,,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "39344","Girl with Medicinal Triangles, Frogtown","Gelatin silver print"," Photographs","8 11/16 x 13 1/8 in. (22.07 x 33.34 cm) (image) 11 x 14 in. (27.94 x 35.56 cm) (sheet)","Photograph","North America","United States",,"1994","Not on View","20th century","Title; Date; Signature; Inscription","","\'Girl with Medicinal Triangles, Frogtown, 1994 Wing Young Huie\', in pencil, verso, LLC; \'103\', in pencil, verso, center; \'1\', in pencil, verso, ULC","","black and white photo of girl in white shirt, three white triangles on face","",,"Gift of David L. and Mary M. D. Parker","2002.183.67","Photographer: Wing Young Huie","Artist","American","American, born 1955","%C2%A9 Wing Young Huie","Arts of the Americas","In Copyright–Educational Use","valid",2645,1750,0,"1",0,,,"[""""]","media",0.24177991,,,,,,true,,,,,,,,,,,,,,,,, "49034","Plate 7 from the Life of Ferdinand I de Medicis","Engraving"," Prints","8 13/16 x 11 13/16 in. (22.38 x 30 cm) (image) 10 9/16 x 14 3/16 in. (26.83 x 36.04 cm) (sheet)","Print","Europe","France",,"1615-1619","Not on View","17th century","","","","","","","From Plate 7 from The Life of Ferdinand I de Medicis, also known as The Battles of the Medici, (La Vie de Ferdinand de Medicis, ou Les Batailles des Medicis)","The John R. Van Derlip Fund","P.68.69","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7347,5531,0,"1",0,"M.540; L.153 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "22109","Snow and Timber Line, Medicine Bow Mountain","Albumen print"," Photographs","6 x 8 1/16 in. (15.24 x 20.48 cm) (image) 9 3/16 x 11 15/16 in. (23.34 x 30.32 cm) (mount)",,"North America","United States",,"c. 1870","Not on View","19th century","","","","","Book ""Sun Pictures of Rocky Mountain Scenery"" containing thirty photographic views along the line of the Pacific Rail Road from Omaha to Sacramento by F.V.Hayden. New York, Julius Bien, 1870. Bound in green buckram with gilt.","","From ""Sun Pictures of Rocky Mountain Scenery"" book","The John R. Van Derlip Fund","78.90.7","Photographer: Andrew Joseph Russell; Author: Ferdinand V. Hayden","Artist","American","American, 1830 - 1902","","Arts of the Americas","Public Domain","valid",2402,1803,0,"1",0,,,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49040","Plate 9 from the Life of Ferdinand I de Medicis","Engraving"," Prints","8 3/4 x 11 9/16 in. (22.23 x 29.37 cm) (image) 10 5/8 x 14 3/16 in. (26.99 x 36.04 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","",,"The John R. Van Derlip Fund","P.68.71","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5435,0,"1",0,"M.542; L.155 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49039","Plate 8 from the Life of Ferdinand I de Medicis","Engraving"," Prints","8 13/16 x 11 7/8 in. (22.38 x 30.16 cm) (image) 10 1/2 x 14 1/8 in. (26.67 x 35.88 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","",,"The John R. Van Derlip Fund","P.68.70","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5496,0,"1",0,"M. 541; L.154 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49042","Plate 11 from the Life of Ferdinand I de Medicis","Engraving and etching"," Prints","8 9/16 x 11 11/16 in. (21.75 x 29.69 cm) (image) 10 5/8 x 14 1/16 in. (26.99 x 35.72 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","",,"The John R. Van Derlip Fund","P.68.73","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5435,0,"1",0,"M. 544; L.158 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49041","Plate 10 from the Life of Ferdinand I de Medicis","Engraving"," Prints","8 13/16 x 11 13/16 in. (22.38 x 30 cm) (image) 10 5/8 x 14 1/4 in. (26.99 x 36.2 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","",,"The John R. Van Derlip Fund","P.68.72","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5435,0,"1",0,"M.543; L.156 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49038","Plate 6 from the Life of Ferdinand I de Medicis","Engraving"," Prints","8 13/16 x 11 13/16 in. (22.38 x 30 cm) (image) 10 1/2 x 14 1/8 in. (26.67 x 35.88 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","","From Plate 6 from The Life of Ferdinand I de Medicis, also known as The Battles of the Medici, (La Vie de Ferdinand de Medicis, ou Les Batailles des Medicis)","The John R. Van Derlip Fund","P.68.68","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7305,5435,0,"1",0,"M. 539, L. 152 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49045","Plate 14 from the Life of Ferdinand I de Medicis","Engraving"," Prints","7 3/8 x 11 5/8 in. (18.73 x 29.53 cm) (image) 9 5/8 x 12 7/8 in. (24.45 x 32.7 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","",,"The John R. Van Derlip Fund","P.68.76","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5500,0,"1",0,"M. 547; L.160 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "49043","Plate 12 from the Life of Ferdinand I de Medicis","Engraving"," Prints","8 13/16 x 11 7/8 in. (22.38 x 30.16 cm) (image) 10 9/16 x 14 1/8 in. (26.83 x 35.88 cm) (sheet)",,"Europe","France",,"1615-1619","Not on View","17th century","","","","","","",,"The John R. Van Derlip Fund","P.68.74","Artist: Jacques Callot","Artist","French","French, 1592–1635","","European Art","Public Domain","valid",7285,5435,0,"1",0,"M. 545; L.158 i/ii",,"[""""]","media",0.24177991,,,,,,,,,,,,,,,,,,,,,,, "5431","Etruscan table","Olive wood, green and black ebony, ivory, brass mounts"," Furniture","28 5/8 x 51 1/4 in. (72.71 x 130.18 cm)","Etruscan table","Europe","England",,"1872","Not on View","19th century","","","","Beginning with London's Crystal Palace Exhibition in 1851, international exhibitions of art and industry dramatically changed the market for important pieces of furniture. Rather than producing custom pieces solely at the request of a specific--often royal--client, firms began making presentation pieces for exhibitions in hopes of gaining recognition for their technical and artistic merit. This Anglo-Etruscan center table is just such a piece, having been made by the distinguished London cabinet-making firm of Jackson and Graham from designs by the Parisian designer Alexander Eugène Prignot, for display at the London International Exhibition of 1872. With this table, Jackson and Graham exhibited the highest quality in English craftsmanship as well as current artistic fashion. [Insert photo Media #1891]","circular inlaid table with four footed pedestal base; central square organic motif with banding of meandering pattern and waves; circular design with harp and wind instruments crossed at center of each side of square; outer band of floral pattern on dark ground","",,"Gift of funds from the Decorative Arts Council and the Ethel Morrison Van Derlip Fund","97.69a-f","Designer: Alexander Eugène Prignot; Maker: Jackson & Graham","Artist","French","French, 1822-?","","European Art","Public Domain","valid",3918,4708,0,"1",0,,,"[""""]","media",0.23373424,,,"[{""title"":""Prignot, Etruscan Table"",""_id"":""5431"",""objectId"":""5431"",""link"":""http://audio-tours.s3.amazonaws.com/p030.mp3"",""number"":""030"",""type"":""audio""}]",,,,,,,,,,,,,,,,,,,, "119367","oh, i'm (LXVIII)","Gouache, watercolor, and collage"," Drawings; Collages / Assemblages; Works on Paper","18 5/8 × 14 7/16 in. (47.31 × 36.67 cm) 25 × 20 15/16 × 1 5/16 in. (63.5 × 53.18 × 3.33 cm) (outer frame)","Drawing and collage","North America","United States",,"1999","Not on View","20th century","","on bottom of sheet, in pencil: oh, i\'m (LXViii) 1999 Steven Sorman","","For Steven Sorman, drawing demands an orchestration of diverse processes and media. His multifaceted approach blends rich color, sinuous lines, fluid shapes, and an instinctive sense of compositional rhythm to create abstractions that are unabashedly ornamental and visually alluring. He often employs collage techniques to emphasize the materiality and surface qualities of his mixed-media drawings, such as integrating fine Japanese and handmade papers as organizational elements. Despite their complexity, his drawings possess an aesthetic and compositional harmony that often expresses a sense of serenity, allowing the eye and mind to experience form, color, and material independent of narrative or representation.","red rectangular ground; two sheets of blue paper glued on top; upper piece is a piece of sheet music painted light blue with yellow and orange design; lower section has abstract floral design in orange, yellow, green and blue on blue background; metallic gold design on top of both pieces and overlapping onto red","The artist; [Flanders Contemporary , Minneapois, sold to Root]; Michael and Tamara Root, Minneapolis (2000-2014); given to MIA, 2014.","From oh i'm series","Gift of Tamara and Michael Root","2014.12.4","Artist: Steven Sorman","Artist","American","American, born 1948","%C2%A9 1999 Steven Sorman","Arts of the Americas","In Copyright","valid",4315,5548,1,"1",0,,,"[""""]","media",0.21523158,,,,,,,,,,,,,,,,,,,,,,, "122519","Gourd painted with vine leaves","Gourd with lacquer and gold; metal fittings, silk cord"," Lacquer","7 1/8 × 3 11/16 × 3 3/4 in. (18.1 × 9.37 × 9.53 cm)","Gourd","Asia","Japan",,"1810s-1820s","Not on View","19th century","","on back, in gold: (Brushed by Hōitsu); {Yōyūsai}","on back: {Monsen}; {kaō}","Several lacquer articles and objects in other media produced by Hara Yōyūsai feature designs by his contemporary, Sakai Hōitsu. Yōyūsai used albums of Hōitsu’s designs to trace and transfer them to lacquer objects. Here, Yōyūsai paints a design of vines by Hōitsu in lacquer and gold on a gourd.","tan gourd painted with grapevine and tendrils; grape flower at L","","From ","Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.425","Artist: Hara Yōyūsai; Designer: Sakai Hōitsu","Artist","Japanese","Japanese, 1761 - 1828","","Asian Art","Public Domain","valid",2910,4452,0,"1",0,"Murase, Art through a Lifetime, no. 805",,"[""""]","media",0.2145569,,,,,,,,,,,,,,,,,,,,,,, "2278","The Temptation of St. Anthony","Oil on panel"," Paintings","19 1/8 x 25 1/8 in. (48.58 x 63.82 cm) (panel) 27 1/2 x 33 1/2 x 2 in. (69.85 x 85.09 x 5.08 cm) (framed)","Painting","Europe","Netherlands",,"17th century","G309","17th century","","","stamp on verso (smeared)","Saint Anthony was a hermit in the 300s, rarely emerging from the cave where he lived in the Egyptian desert. But even there, according to legend, his faith in God was fought by the devil. The devil sent demons to beat him and alluring women to distract him from his prayers. Saint Anthony never wavered. Anthony’s story proved popular with artists and their clients, just as evil creatures and sexy women are popular in all types of media today. David Teniers’ painting of the story was so sought after that there are at least five known versions. Teniers probably painted a prototype, which was then partly copied by his assistants. He would complete the copies by executing some of the trickiest elements, such as the books, vessels, and crucifix.","","(Herman Shickman Gallery, New York, New York by 1975); sold to MIA in 1976.",,"The Walter H. and Valborg P. Ude Memorial Fund and gift of funds from Mr. and Mrs. Atherton Bean","76.31","Artist: David Teniers, the Younger","Artist","Flemish","Flemish, 1610–1694/96","","European Art","Public Domain","valid",6322,4800,0,"1",0,,,"[""""]","media",0.20884633,,,,,,,,,,true,,,,,,,,,,,,, "31402","""Cosmos"" coffee and tea service","Silver and ebony"," Metalwork","1 3/4 x 24 1/2 x 16 1/2 in. (4.4 x 62.2 x 41.9 cm)","","Europe","Denmark",,"1929 (designed 1915)","G354","20th century","Stamp; Inscription","","","The ""Cosmos,"" servingware designed by Rohde around 1915 is widely recognized as an icon of 20th century Scandinavian design. The collaboration between Rohde, an artist and designer who worked in many media, and Jensen began in 1906 and continued until 1935, the year of their deaths. Rohde's design synthesizes classical motifs, like the fluting on the lower portions of the pieces, with modern touches, like the stark ebony handles and spherical forms, resulting in a service that is both elegant and modern. In 1929, Frederick Weyerhaeuser III and his bride Margaret Gertrude Ludwig received as a wedding present the seven pieces from the ""Cosmos"" line of servingware shown here: the oval tray, teapot, coffee pot, waste bowl, creamer, covered sugar bowl, and hot milk jug. Twenty-five years later, their children presented them with a hot water kettle on stand from the original line in celebration of their silver wedding anniversary. In 1999, the family donated the set to the Institute.","oval tray with dark wood handles; alternating three beads and spaces at rim; handles joined to tray by flower and spiral leaves","",,"Gift of The Frederick and Margaret L. Weyerhaeuser Foundation","99.195.19.1","Designer: Johan Rohde; Manufacturer: Georg Jensen, Copenhagen, Denmark","Artist","Danish","Danish, 1856-1935","","European Art","Copyright Undetermined","valid",4698,2994,0,"1",0,,,"[""""]","media",0.20884633,,,,,,,,,,,,,,,,,,,,,,, "72663","Pyrus Communis from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 x 9 3/4 in. (43.18 x 24.77 cm) (plate) 18 5/8 × 12 7/8 in. (47.31 × 32.7 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th century"," ",""," ","","Tab. 395","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,106","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4408,6204,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "73637","Paeonie from Icones Plantarum Medico-oeconomico-technologicarum","Hand-colored engraving"," Prints","8 x 6 1/2 in. (20.32 x 16.51 cm) (plate) 9 1/4 × 7 1/2 in. (23.5 × 19.05 cm) (sheet)","Print","Europe","Austria",,"1804","Not on View","19th century"," ",""," ","","","","From Icones Plantarum Medico-oeconomico-technologicarum... (Vienna, 1800-1822)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,487","Artist: Ferdinand Bernhard Vietz","Artist","Austrian","Austrian, 1772–1815","","European Art","Public Domain","valid",3608,4506,0,"1",0,"Sitwell & Blunt 79; Nissen 2062",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72654","Title Page from Icones Plantarum Medicinalium","Hand-colored etching"," Prints","18 9/16 × 12 7/8 in. (47.15 × 32.7 cm) (sheet)","Print","Europe","Austria",,"1788","Not on View","18th century"," ",""," ","","","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,098","Author: Joseph Jakob Plenck; Etcher: Jo. Ign. Albrecht","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4377,6085,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72666","Helleborus Foetidus from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","18 x 12 1/4 in. (45.72 x 31.12 cm) (plate) 18 5/8 × 13 in. (47.31 × 33.02 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th century"," ",""," ","","Tab. 449","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,109","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4440,6166,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72660","Prunus Cerasus from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 x 10 3/8 in. (43.18 x 26.35 cm) (plate) 18 5/8 × 13 in. (47.31 × 33.02 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th century"," ",""," ","","Tab. 378","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,103","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4386,6142,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72662","Pyrus Malus, from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 x 11 3/4 in. (43.18 x 29.85 cm) (plate)",,"Europe","Austria",,"1788 (?)","Not on View","18th century"," ",""," ","","Tab. 394","","From Icones Plantarum Medicinalium, (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,105","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4305,6070,0,"1",0,,,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72657","Solanum Melongena from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 x 11 1/2 in. (43.18 x 29.21 cm) (plate) 18 11/16 × 12 3/4 in. (47.47 × 32.39 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th century"," ",""," ","","Tab. 123","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,101","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4370,6195,0,"1",0,"(Vienna, 1788-1812)",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72667","Alcea Rosea from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 3/8 x 10 1/4 in. (44.13 x 26.04 cm) (plate) 18 5/8 × 12 7/8 in. (47.31 × 32.7 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th century"," ",""," ","","Tab. 512","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,110","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4324,6126,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72664","Rosa Centifolia, from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 x 9 3/4 in. (43.18 x 24.77 cm) (plate)",,"Europe","Austria",,"1788 (?)","Not on View","18th century"," ",""," ","","Tab. 402","","From Icones Plantarum Medicinalium, (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,107","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4380,6161,0,"1",0,,,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72665","Rosa Alba from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 1/8 x 9 3/8 in. (43.5 x 23.81 cm) (plate) 18 5/8 × 12 15/16 in. (47.31 × 32.86 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th century"," ",""," ","","Tab. 405","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,108","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4529,6275,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "114395","Study of Michelangelo's Night Sculpture from the Medici Tombs","Black crayon on laid paper"," Drawings","10 7/8 x 16 13/16 in. (27.62 x 42.7 cm)","Drawing","Europe","Italy",,"17th century","Not on View","17th century","Inscription recto, at lower right, in pen and brown ink [0000] on verso, in pencil: [2/-], [TGL-10 / 17], [137] and [Octavio (?) Dandini]","","","","partially reclining figure of a very muscular nude woman with upper body twisted to PL; PR elbow on outside of PL thigh; PL lower arm, PR leg and PL foot not differentiated--hair and PL hand faintly sketched; four O's in brown ink, LRC","","From ","Bequest of Professor Alfred Moir","2012.58.162","Artist: Attributed to Cesare Dandini","Artist","Italian","Italian, 1595 - 1658","","European Art","Public Domain","valid",4386,2853,0,"1",0,,,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "113544","Medici Coat of Arts with Figures from Callot","Pen and brown ink"," Drawings","7 7/16 x 9 5/8 in. (18.89 x 24.45 cm) (sight) 18 5/8 x 25 9/16 in. (47.31 x 64.93 cm) (outer frame)","Drawing","Europe","Italy",,"17th century","Not on View","17th century","Label","","on backing paper: Fine Arts Gallery of San Diego loan label","","various small sketches on sheet; round coat of arms medallion with acanthus leaves surrounding small irregularly-shaped shield mounted with a helmet of armor and a small scroll with text at top, at right center of sheet; sketch of helmet of armor in LLC; small sketches of figures in various poses overall, including scene of flogging at left center and soldiers with flags and spears","Sale, Sotheby's, London, April 9, 1970, no.287. [Pietro Scarpa, Venice, until 1970; sold for 220,000 lire to Moir]; Alfred Moir, Santa Barbara (1970-d. 2010; bequeathed to MIA)","From ","Bequest of Professor Alfred Moir","2012.58.102","Artist: Ercole Bazzicaluva","Artist","Italian (Tuscan)","Italian (Tuscan), ca. 1600-after 1641","","European Art","Public Domain","valid",3944,3229,0,"1",0,,,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "113408","Mortar and pestle with cover for medicine figure","Wood, plant fibers"," Woodwork",,"Mortar and pestle with cover for medicine figure","Africa","Liberia","Loma","Date Unknown","Not on View",,"","","","","two wood elements: one long, thin element with one tapered end and geometric element on opposite end carved with facets and lines (mortar or applicator?); other element is a small cylindrical container of wood with footed base, carved with lines and ball on top of foot; bulbous, rough stopper; stopper and long thin element attached together with twisted plant fiber twine","","From ","Gift of William Siegmann","2011.70.46.2a,b","","Artist",,,"","Arts of Global Africa","Public Domain","valid",5124,3930,0,"1",0,,,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72661","Amygdalus persica from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 1/4 x 11 3/4 in. (43.82 x 29.85 cm) (plate) 18 7/16 × 12 3/4 in. (46.83 × 32.39 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th century"," ",""," ","","Tab. 386","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,104","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4339,6063,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "81399","""Flatiron Building Bank, Medium"" still bank","Iron, pigment"," Dolls, Toys and Games","5 3/4 x 4 1/2 x 3 11/16 in. (14.61 x 11.43 x 9.37 cm)","""Flatiron Building Bank, Medium"" still bank",,,,"c. 1904-1926","Not on View","19th-20th century","","","","","medium sized triangular building with open design work on all sides; bank stopper on bottom is missing","",,"Gift of Katherine Kierland Herberger","2003.236.146","Manufacturer: Kenton Hardware Manufacturing Co.","Artist",,"Kenton, Ohio, 1890–1950","","Arts of the Americas","Public Domain","valid",1587,2072,0,"1",0,,,"[""""]","media",0.20864643,,,,,,,,,,,true,,,,,,,,,,,, "72655","Iris Germanica from Icones Plantarum Medicinalium","Hand-colored engraving"," Prints","16 3/4 x 12 in. (42.55 x 30.48 cm) (plate) 18 11/16 × 13 in. (47.47 × 33.02 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th-19th century"," ",""," ","","Tab. 34","","From Icones Plantarum Medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,099","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4443,6175,0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "72656","Iris florentina, from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 1/4 x 9 1/4 in. (43.82 x 23.5 cm) (plate)",,"Europe","Austria",,"1788 (?)","Not on View","18th century"," ",""," ","","Tab. 35","","From Icones Plantarum Medicinalium, (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,100","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","European Art","Public Domain","valid",4355,6143,0,"1",0,,,"[""""]","media",0.20864643,,,,,,,,,,,,,,,,,,,,,,, "125121","Untitled (Flug)","Gouache, oil pastel, red chalk, black ink wash, and graphite over relief print on illustration board"," Drawings; Works on Paper","19 1/2 × 29 1/4 in. (49.53 × 74.3 cm)","Drawing",,,,"2002","Not on View","21st century","Inscribed in black crayon within composition, UC: \""Flug\""; inscribed in white media at center of composition: guter Sitz; various illegible inscriptions in graphite within composition","Signed and dated in black media, LC: Multerer │ 2002","","","image of the Parthenon with a birds nest and brown mound on top; hand reaches up side; bird's wing depicted above; lettering throughout in black and white media; Parthenon reflection below; Lender’s archive #238","William P. Kosmas, London, England (d. 2017); Estate of William P. Kosmas, Minneapolis; given to MIA, 2018.","From ","Gift of William P. Kosmas","2018.123.6","Artist: Gerhard Multerer","Artist","German","German, born 1957","%C2%A9 Gerhard Multerer","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.20782608,,,,,,,,,,,,,,,,,,,,,,, "121042","Ring Bargain","Acrylic paint and collage on illustration board"," Paintings; Collages / Assemblages; Works on Paper","13 5/8 × 10 7/16 in. (34.61 × 26.51 cm) (image) 17 7/8 × 14 1/8 in. (45.4 × 35.88 cm) (board)","Collage with painting","North America","United States",,"2014","G369","21st century","on back of board in black ink: \""RING BARGAIN\"" / 13 1/2\"" x 10 1/2\"" / acrylic and collage / on illust. board","LRC in image in black: Douglas Bourgeois 2014","","In this mixed media collage, Douglas Bourgeois presents a tribute to the American musician, singer, and songwriter Robert Johnson (1911–1938). For aficionados of early blues and jazz music, Johnson looms large in the pantheon of legendary Delta bluesmen. Though he recorded only 29 songs and died at the age of 27, his outsized status resulted from his incomparable prowess with the guitar and his oft repeated claim of having learned to play from the Devil himself. The story—known as the “legend of the crossroads”—tells of Johnson meeting the Devil while thumbing a ride at a dark and lonely crossroads in rural Mississippi. Feeling despondent, he bargains with the Devil and offers to trade his soul for mastery of the guitar. The tale is retold in Johnson’s renowned blues standard Crossroads.","collage of printed material (advertisements for wedding rings, appliances and gun; music with image of piano keys; stamp of Disney's Snow White; image of bird; images of postage stamps; image of wheel) with painting and drawing on top; pair of blue winged nude female figures in profile at left and right; central bottom image of man's head and shoulders in profile looking toward PL, in red, with a gold guitar with a brown neck sprouting from his head; gold ring at top center; purple curving lines at left and right","The artist, New Orleans; [Joe Zanatta Contemporary Art, Shawnee, Kansas]; sold to MIA, 2015.",,"The Plautz Family Endowment","2015.48.3","Artist: Douglas Bourgeois","Artist","American","American, born 1951","%C2%A9 Douglas Bourgeois","Arts of the Americas","In Copyright","valid",7166,9123,1,"1",1,,,"[""""]","media",0.2071394,,,,,,,,,,,,,,,,,,,,,,, "28546","Jan's Snakes","Found objects (wooden, plastic, metallic, glass) painted with various media in polychrome, ornamented with glass beads, wire, and other materials"," Sculpture; Collages / Assemblages","46 x 44 x 22 in. (116.8 x 111.8 x 55.9 cm) [irregular]","Assemblage","North America","United States",,"1993","Not on View","20th century","","","","","Assemblage of found objects (wooden, plastic, metallic, glass) painted with various media in polychrome, ornamented with glass beads, wire, and other materials. A female figure carrying bananas atop her head is surrounded by birds, snakes, flowers, fruits and abstract elements.","","From ","The Christina N. and Swan J. Turnblad Memorial Fund and Gift of funds from Arts Midwest","94.80","Artist: Judith Onofrio","Artist","American","American, born 1939","%C2%A9 1993 Judy Onofrio","Global Contemporary Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.20695104,,,,,,,,,,,,,,,,,,,,,,, "51058","Los Angeles Tap Water, from Stains","Tap water on paper"," Works on Paper","11 1/2 x 10 1/2 in. (29.21 x 26.67 cm) (sheet, each)","Work on paper","North America","United States",,"1969","Not on View","20th century","Signature; Edition","Signed in ink on edition page: [Ed Ruscha]","","","Portfolio of 75 mixed media works on paper, title sheet, edition sheet, index sheet, housed loose in a silk-lined black faux-leather clamshell portfolio box with title printed in silver on cover and spine.","Heavy Industry Publications, Hollywood, Calif. (the artist); sold to the MIA, 1971.","From Stains","The William Hood Dunwoody Fund, by exchange","P.71.169.1","Artist: Edward Ruscha","Artist","American","American, born 1937","%C2%A9 Ed Ruscha","Prints and Drawings","In Copyright–Educational Use","invalid","","",0,"1",1,"Foster 10; Engberg 89; D. Hickey and P. Plagens, 1982, pl. 149 and pp. 168 & 178",,"[""""]","media",0.20581067,,,,,,,,,,,,,,,,,,,,,,, "14863","Georgian drawing room","Pine"," Architecture",,"Period room","Europe","England",,"c. 1740","G327","18th century","","","","In 1932, this room was installed in the Minneapolis Institute of Arts as a memorial to Eugene J. Carpenter, the first vice president of the Minneapolis Society of Fine Arts. It was once called the Northumberland Room because the paneling was purported to come from Stanwick Park, the ancestral home of the Dukes of Northumberland in Yorkshire, England. Now it is called the Georgian Room, as it relates to interior architecture from 18th-century Georgian England.While at first the room was exhibited with unpainted pine paneling, it was later painted, reflecting a more typical 18th-century wall treatment. The room is decorated with classical motifs, such as Greek key moldings, fluted columns with Ionic capitals, and carved garlands and drapery, made popular in England in the 17th century through the designs of the architect Inigo Jones, and in the 18th century through Lord Burlington and his architect William Kent. The furnishings in this room reflect trappings of taste and status in mid-18th-century England. The paintings, while not original to the room, hang like ancestral portraits in an English country house. Notice the handsomely carved armchairs and desk-and-bookcase that illustrate the influence of the famous English cabinetmaker and pattern-book author Thomas Chippendale. The exotic porcelain in the buffet would have been imported from China, as was tea drinking, an eastern ritual that inspired a similar custom in Europe. To learn more about taking tea in Georgian England, please see the interactive media program in this room. Reinstallation of the Georgian Room has been initially funded through the family of Eugene J. Carpenter and the National Endowment for the Arts.","","",,"Gift of Mrs. Eugene J. Carpenter and Mrs. Folwell Coan in memory of Eugene J. Carpenter","28.82","","Artist",,,"","European Art","Public Domain","valid",5330,3962,0,"1",0,,,"[""""]","media",0.19914486,,,"[{""title"":""Northumberland Room"",""_id"":""14863"",""objectId"":""14863"",""link"":""http://audio-tours.s3.amazonaws.com/p784.mp3"",""number"":""784"",""type"":""audio""}]",,,,,,,,,,,,,,,,,,,, "73635","Frontispiece and Title Page to Supplement-Band zu Dr. B. F. Vietz medizinisch-ökonomisch-technischen Pflanzen from Icones Plantarum Medico-oeconomico-technologicarum","Hand-colored engraving"," Prints","9 3/8 × 7 1/2 in. (23.81 × 19.05 cm) (sheet)","Print","Europe","Austria",,"1822","Not on View","19th century"," ",""," ","","","","From Icones Plantarum Medico-oeconomico-technologicarum... (Vienna, 1800-1822)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,485","Artist: Ferdinand Bernhard Vietz","Artist","Austrian","Austrian, 1772–1815","","European Art","Public Domain","valid",3608,4506,0,"1",0,"Sitwell & Blunt 79; Nissen 2062",,"[""""]","media",0.19727682,,,,,,,,,,,,,,,,,,,,,,, "117802","Portrait of a Western Man","Ink and color on silk"," Paintings","22 7/8 × 18 3/16 in. (58.1 × 46.2 cm) (image) 56 11/16 × 23 13/16 in. (143.99 × 60.48 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"late 19th century","Not on View","19th century","","","","In this portrait of an unidentified Western man, Nakayama Toshitsugu employs traditional Japanese media—ink and light mineral pigments on a hanging silk scroll—with Western painting techniques that create the illusion of three-dimensional space on a flat surface. Toshitsugu studied under Utagawa Kuniyoshi (1797¬–1861) and Tsukioka Yoshitoshi (1839–1892), two artists widely recognized as great geniuses of Japanese ukiyo-e style painting and prints. Ukiyo-e means “pictures of the floating world,” and the subject matter included leisure activities and idealized, beautiful people. Toshitsugu created works in a variety of media, not only paintings in the ukiyo-e style but also Western-style watercolors, oil paintings, and paintings and drawings based on photographs. Some of his works are known to have been produced specifically for visiting foreigners.","western man with blue eyes, flat blonde hair, greyish goatee and pursed lips faces outward; rests PR hand on decorated pedestal; cradles hat against body with PL hand","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.663","Artist: Nakayama Toshitsugu","Artist","Japanese","Japanese, 1840 - 1890","","Asian Art","Public Domain","valid",5969,7478,0,"1",0,,,"[""""]","media",0.18647236,,,,,,,,,,,,,,,,,,,,,,, "3965","Joy of Life","Linen, cotton, silk, metallic fibers; embroidery"," Textiles","41 1/2 x 28 1/2 in. (105.41 x 72.39 cm) (plexiglass mount)",,"Europe","Switzerland",,"1990","Not on View","20th century","","","","Lissy Funk is one of the few artists of the Fiber Arts movement who was formally trained from an early age in the media that she always favored for her work. It was only as a mature artist that she embraced the abstract expressionist aesthetic in the 1960s and from that point she never looked back. Moving beyond the confines of traditional embroidery she enhanced her abstract imagery with distinctive textures and rich surfaces. Her work is never sentimental, but does exude a message of joyous enthusiasm that is unusual for the period. Many artists of the later part of the twentieth century fled from contamination of traditional forms of their media. Of all the Fiber Art techniques, embroidery was possibly the least popular, undoubtedly due in part to its associations with traditional schoolgirl projects, as well as the sentimentality often expressed with this form.","embroidery mounted on plexiglas, synthetic fibers","",,"Gift of funds from the Textile Council and the Ethel Morrison Van Derlip Fund","90.30","Artist: Lissy Funk","Artist","Swiss","German, worked in Switzerland, 1909-2005","%C2%A9 Lissy Funk","European Art","In Copyright","valid",3336,4879,1,"1",0,,,"[""""]","media",0.18647234,true,,,,,,,,,,,,,,,,,,,,,, "117801","Portrait of a Western Woman","Ink and color on silk"," Paintings","25 1/4 × 19 3/4 in. (64.14 × 50.17 cm) (image) 57 3/16 × 25 1/16 in. (145.26 × 63.66 cm) (mount, without roller)","Hanging scroll","Asia","Japan",,"late 19th century","Not on View","19th century","Signature and Seal","LLC: [T. Nakayama, Yokohama, Japan]","LLC, relief seal","In this portrait of an unidentified Western woman, Nakayama Toshitsugu employs traditional Japanese media—ink and light mineral pigments on a hanging silk scroll—with Western painting techniques that create the illusion of three-dimensional space on a flat surface. Toshitsugu studied under Utagawa Kuniyoshi (1797¬–1861) and Tsukioka Yoshitoshi (1839–1892), two artists widely recognized as great geniuses of Japanese ukiyo-e style painting and prints. Ukiyo-e means “pictures of the floating world,” and the subject matter included leisure activities and idealized, beautiful people. Toshitsugu created works in a variety of media, not only paintings in the ukiyo-e style but also Western-style watercolors, oil paintings, and paintings and drawings based on photographs. Some of his works are known to have been produced specifically for visiting foreigners.","portrait of woman wearing dark grey and black dress with buttons at center; small gold brooch and gold hoop earring; blue eyes; grey-blonde hair pulled tightly back and braided at crown of head; PL hand rests openly on table at LR; PR hand at side","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.662","Artist: Nakayama Toshitsugu","Artist","Japanese","Japanese, 1840 - 1890","","Asian Art","Public Domain","valid",6444,8242,0,"1",0,,,"[""""]","media",0.18569365,,,,,,,,,,,,,,,,,,,,,,, "124049","Untitled","Oil on paper"," Paintings; Works on Paper","16 7/16 × 31 11/16 in. (41.75 × 80.49 cm) (image) 17 3/4 × 33 1/16 in. (45.09 × 83.98 cm) (sight) 30 3/16 × 42 1/16 × 1 9/16 in. (76.68 × 106.84 × 3.97 cm) (outer frame)","Painting on paper","North America","United States",,"1977","Not on View","20th century","Signature, Title and Date","LLC, in pencil: [Untitled]; LRC, in pencil: Frances Barth 1977","","This early example of Frances Barth’s geometric abstraction features her characteristic use of layered, manipulated media and strong contrasts of color and value to create a dichotomy between surface design and the suggestion of pictorial space. Here, Barth’s color functions as both atmosphere and object. The result is an internal tension and striking graphic intensity that is at once compelling and disorienting.","abstract horizontal image; vertical bars and wedges, some with curved edges, of various colors--black, white, grey, yellow, brown, purple","Anne White, St. Paul, MN","From ","Gift of Anne White in celebration of the 100th anniversary of the Minneapolis Institute of Art","2015.121.1","Artist: Frances Barth","Artist","American","American, born 1946","%C2%A9 1977 Frances Barth","Arts of the Americas","In Copyright","valid",7773,4260,1,"1",0,,,"[""""]","media",0.18157986,true,,,,,,,,,,,,,,,,,,,,,, "142340","Crocheted hat","Mixed media crochet"," Accessories","6 × 7 3/4 × 6 1/2 in. (15.2 × 19.7 × 16.5 cm) (approx.)","Hat","North America","United States",,"c. 1985-1987","Not on View","20th century","","","","Irene Reed was a Connecticut-based artist who worked with a diverse array of media -- including found items -- and off-loom fiber techniques, but was best known for her crochet creations -- typically hats, purses, accessories, and small sculptures. This evening cloche with its central feathered medallion evokes the feeling of an elegant wrapped and bejeweled turban. But Reed's notorious sense of humor breaks through in her selection of buttons and other found item ""gemstones,"" and strike a more informal tone.","applied front and side elements with black background, decorated with organic forms in tan and silver metallic, and small gold metallic tube beads; women’s faces on each side, with closed eyes, flushed cheeks, and touches of blue on eyelids; pair of grey feathers on top; back is black with silver metallic threads, with an inverted T-shaped overlay of openwork silver metallic crochet","",,"Gift of Joanne G. Pollara","2021.49.5","Artist: Irene Reed","Artist","American","American, 1946 - 2012","","Arts of the Americas","In Copyright","valid",5476,5191,1,"1",0,,,"[""""]","media",0.17833708,,,,,,,,,,,,,,,,,,,,,,, "142337","Crocheted hat","Mixed media crochet"," Accessories","8 × 8 × 7 1/4 in. (20.3 × 20.3 × 18.4 cm) (approx., without tassels)","Hat","North America","United States",,"c. 1985-1987","Not on View","20th century","","","","Irene Reed was a Connecticut-based artist who worked with a diverse array of media -- including found items -- and off-loom fiber techniques, but was best known for her crochet creations -- typically hats, purses, accessories, and small sculptures. An important technical innovation of Reed's was to create three-dimensionality by building crochet stitches over sections of trapunto quilting. The pendants on this crocheted hat are reminiscent of the beaded cornrow hairstyles that were popular in the 1980s.","crown of hat is striped in bright multicolors (orange, gold, purple, turquoise, gold) with a U shaped thick purple band around it; black around edges and back; black flap on back with horizontal broken stripes with tails and knots in bright multicolors; four tassels on each side with purple crocheted vertical elements at ends and vertical crocheted beadlike elements in multicolors","",,"Gift of Joanne G. Pollara","2021.49.2","Artist: Irene Reed","Artist","American","American, 1946 - 2012","","Arts of the Americas","In Copyright","valid",5476,7244,1,"1",0,,,"[""""]","media",0.17833708,,,,,,,,,,,,,,,,,,,,,,, "122489","Box with chrysanthemums and flowing water","Black lacquer with gold maki-e; metal fittings"," Lacquer","4 13/16 × 12 × 7 5/8 in. (12.22 × 30.48 × 19.37 cm)","Covered box","Asia","Japan",,"17th century","Not on View","17th century","","","","The motif of chrysanthemums floating in water, here executed in gold on a black lacquer ground, appears in a variety of Japanese artistic media, including bronzes, painting, lacquerware, and textiles. Introduced to Japan from China as early as the twelfth century, the motif is associated with longevity. Maki-e (literally “sprinkled picture”) designs are created by the application of gold, silver, and other metallic dust to a lacquer-painted design. It is a technique that has been used in Japan since ancient times.","oblong box with beveled corners; lid with beveled edges; chrysanthemums and leaves amid stylized waves motif; beveled edges are decorated with chrysanthemums and vines on gold ground; crane-shaped metal fittings for cords on front and back of box","",,"Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation","2015.79.389a,b","Artist: Unknown Japanese","Artist",,,"","Asian Art","Public Domain","valid",4376,2844,0,"1",1,"Murase, Art through a Lifetime, no. 751",,"[""""]","media",0.1765125,,,,,,,,,,,,,,,,,,,,,,, "120644","Untitled IPCNY","Relief print with embossment, wood engraving, fake fur, yellow Lake Como silk, and upholstery"," Prints; Collages / Assemblages; Works on Paper","12 3/16 × 16 1/8 in. (30.94 × 40.96 cm)","Print with collage","North America","United States",,"2001","Not on View","21st century","on back, in pencil: TWO PALMS PRESS","on back, in pencil: J. Stockholder 2001","on back, in pencil: 67/100","Brilliant, high-key color, textured surfaces, and the spatial and formal relationship of forms are crucial components of Jessica Stockholder's work. Her fascination with color, assemblage, and spatial interactions is apparent in this mixed media print, a lively intersection of layered geometric shapes and white plant-like forms. Fake yellow fur and swatches of cloth add to the work’s unusual and ambiguous formal and material characteristics.","Abstract design with white organic form at center and top; three dark purple and one pink leaf-like motifs at right; turquoise form in velvet at LLQ and bottom center; yellow silk ground","[International Print Center New York (publisher); sold to Schrank]; [Harris Schrank, New York]; given to MIA, 2014.",,"Gift of Harris Schrank in celebration of the 100th anniversary of the Minneapolis Institute of Arts","2014.145","Artist: Jessica Stockholder; Publisher: Two Palms Press, New York","Artist","American and Canadian","American and Canadian, born 1959","%C2%A9 Jessica Stockholder %2F Stuff Matters LLC","Arts of the Americas","In Copyright","valid",7216,5412,1,"1",0,,,"[""""]","media",0.17651248,true,,,,,,,,,,,,,,,,,,,,,, "103764","Led Almost By My Tie","Color lithographs, transfer, letterpress, inkjet prints, collage and hand-coloring; bound volume"," Prints; Books; Collages / Assemblages","1 7/16 x 5 1/8 x 8 11/16 in. (3.65 x 13.02 x 22.07 cm) (closed)","Artist's book","North America","United States",,"2007","Not on View","21st century","","Signed by the author, artist, and printer on colophon page, in pencil: Jeremy Sigler / J. Stockholder / R. Lingen","","American artist Jessica Stockholder is a leading contemporary sculptor, painter, printmaker, book artist, and pioneering figure in site-specific multi-media installations. Brilliant, high-key color, texture and surface, and the spatial relationship of objects are crucial to Stockholder's work. Her fascination with vivid color, assemblage, and spatial relationships is also found in her original prints and artist's books, as in this example from 2007, where she blends appropriated representational imagery with abstract geometric designs, symbols, letters, and signs.","gold front cover with ""TIE"" in black; thick blue wood back cover; abstract color images; black and white and color photographs; most pages separated by iridescent, shiny, metallic or plasticized paper or plastic sheets","Picture Books, New York (publisher); Booklyn Artists Alliance, New York (agent); sold to MIA, 2007.",,"The Mary and Robyn Campbell Fund for Art Books","2007.92","Artist: Jessica Stockholder; Author: Jessica Stockholder; Author: Jeremy Sigler; Printer: Ruth Lingen; Book Binder: Ruth Lingen; Book Binder: Mark Tomlinson; Publisher: Picture Books, New York","Artist","American and Canadian","American and Canadian, born 1959","%C2%A9 Jessica Stockholder","Arts of the Americas","In Copyright–Educational Use","valid",2816,4626,0,"1",0,,,"[""""]","media",0.17596187,true,,,,,,,,,,,,,,,,,,,,,, "137817","Arose","Glass mosaic with patinated brass frame"," Sculpture; Glass","83 1/8 × 59 7/8 in. (211.1 × 152.1 cm) 84 1/16 × 60 3/4 × 2 in. (213.5 × 154.3 × 5.1 cm) (outer frame)","Mosaic","North America","United States",,"2020","G243","21st century","","","","Shahzia Sikander ’s pioneering practice takes classical Indo-Persian miniature painting as its point of departure and challenges the strict formal tropes of the genre by experimenting with scale and various media including mosaics. Informed by South Asian, American, Feminist and Muslim perspectives, Sikander has developed a unique, critically charged approach to this time-honored medium – employing its continuous capacity for reinvention to interrogate ideas of language, trade and empire, and migration. Liberated from the traditional framework of depictions of women, here, the figures — either lovers or mirror versions of the same woman — spiral in a pinwheel, channeling “the enormous possibility of the feminine spirit,” Ms. Sikander said. Their lush skirts read as a poppy blossom, a recurring motif that alludes to the opium industry in Afghanistan and the long-term U.S. intervention and conflict there. The ravishing circular composition “also looks like a bombed-out out site to me,” said the artist, who likes to play with multiple meanings simultaneously and create tension between beauty and destruction.","abstracted image with nine female figures in a wheel-like shape with their heads overlapping at the center (many not visible), wearing tan bodices and long white skirts; green ground; flowers at bottom edge; received in black frame","",,"Gift of funds from Mary and Bob Mersky","2021.10","Artist: Shahzia Sikander","Artist","Pakistani (active U.S.)","Pakistani (active U.S.), born 1969","","Global Contemporary Art","In Copyright","valid",3889,5229,1,"1",0,,,"[""""]","media",0.17561883,,,,,,true,,,,,,,,,,,,,,,,, "73600","Frontispiece and Title Page. Vol. I, from Icones Plantarum Medico-oeconomico-technologicarum...","Hand-colored engraving"," Prints","8 x 6 3/4 in. (20.32 x 17.15 cm) (plate)","Print","Europe","Austria",,"1800","Not on View","19th century"," ",""," ","","","","From Icones Plantarum Medico-oeconomico-technologicarum..., (Vienna, 1800-1822)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,483","Artist: Ferdinand Bernhard Vietz","Artist","Austrian","Austrian, 1772–1815","","European Art","Public Domain","valid",3520,4453,0,"1",0,"Sitwell & Blunt 79; Nissen 2062",,"[""""]","media",0.17551295,,,,,,,,,,,,,,,,,,,,,,, "136543","The Medicine Peddler (Uiro): Actor Ichikawa Danjūrō IX as Toraya Tōkichi","Woodblock print (nishiki-e); ink and color on paper"," Prints","15 × 10 1/8 in. (38.1 × 25.7 cm)","Print (ukiyo-e / yakusha-e)","Asia","Japan",,"December 1895","Not on View","19th century","","","","","vertical ōban","","From Eighteen Great Kabuki Plays (Kabuki jūhachiban 歌舞伎十八番)","Gift from the collection of Edith and the late John Payne","2019.139.16","Artist: Hasegawa Kanpei XIV (Tadakiyo); Publisher: Hasegawa Sumi","Artist","Japanese","Japanese, c. 1894-1905","","Asian Art","Public Domain","valid",1031,1449,0,"1",0,,,"[""""]","media",0.17551295,,,,,,,,,,,,,,,,,,,,,,, "114412","Design for a Ceiling with the Evangelists John and Luke and the Medici Coat of Arms","Pen and brown ink with pink and blue wash on laid paper"," Drawings","9 1/8 x 16 13/16 in. (23.18 x 42.7 cm) (irregular)","Drawing","Europe","Italy",,"late 16th century","Not on View","16th century","Inscription and Stamp LLC, in pencil: illegible inscription; LR, in pencil: [415/200 2/6]","","LRC, stamped in blue: [M]","","ceiling decoration; segments separated into geometric forms with egg and dart moldings; central tiny circle with dove; largest segments with seated figures writing--figure at left accompanied by a bull; other segments with scrolls, flowers and cherub heads","Giovanni Morelli, Lugt 1902. Sale, Christie's, London, July 6, 1976, no. 87, as Roman, early 17th century, for £264, to Moir]; Alfred Moir, Santa Barbara (1984-d. 2010; bequeathed to MIA)",,"Bequest of Professor Alfred Moir","2012.58.163","Artist: Attributed to Cesare Nebbia; Artist: Attributed to Giovanni Battista Ricci da Novara","Artist","Italian","Italian, c. 1536 - c. 1614","","European Art","Public Domain","valid",4871,2683,0,"1",0,,,"[""""]","media",0.17551295,,,,,,,,,,,,,,,,,,,,,,, "36174","Indian Medas Secretly Showing the Contents of their Medicine Sacks to Each Other","Watercolor"," Drawings","6 × 8 1/2 in. (15.2 × 21.6 cm) (image) 9 5/8 × 12 7/8 in. (24.4 × 32.7 cm) (sheet) 17 9/16 × 21 1/2 × 1 1/8 in. (44.6 × 54.6 × 2.9 cm) (outer frame)","Drawing","North America","United States",,"1849-1855","Not on View","19th century","Title and Inscription Lower center, below image, in brown ink: [INDIAN MEDAS SECRETLY SHOWING THE CONTENTS OF THEIR MEDICINE / SACKS TO EACH OTHER]","LL, below image, in black ink: [S. Eastman U.S. Army Delt.]","","U.S. Army Captain Seth Eastman was a trained artist who served twice on the frontier at Minnesota’s Fort Snelling, from 1830 to 1832 and again from 1841 to 1848. His extensive firsthand, peaceful encounters with Native Americans gave him extraordinary opportunities to observe their customs and practices, which he documented in his art. He became known as the “pictorial historian of the Indian.” This watercolor belongs to a series that he made between 1849 and 1855 to illustrate Henry Rowe Schoolcraft’s massive survey, ""Historical and Statistical Information Respecting the History, Condition and Prospects of the Indian Tribes of the United States"" (Philadelphia: Lippincott, Grambo & Co., 1851-57). Mia’s 35 watercolors and drawings for the project represent an astounding array of subjects: muskrat hunting, fish spearing, pest control, rice gathering, maple sugaring, shelter, travel, medicine, mourning, dancing, civics, and topography. With such variety and Eastman’s well-informed clarity of depiction, they constitute an unparalleled visual account of native ways in our region.","","James J. Hill (St. Paul, 1838-1916); his estate; James Jerome Hill Reference Library St. Paul (by 1921-1994; sold October, to MacMillan); W. Duncan MacMillan, Wayzata (1994-d. 2006); the W. Duncan and Nivin MacMillan Foundation (2006-2014; given to MIA)",,"Gift of the W. Duncan and Nivin MacMillan Foundation","2014.31.32","Artist: Seth Eastman","Artist","American","American, 1808–1875","","Arts of the Americas","Public Domain","valid",7071,5458,0,"1",0,"Seth Eastman: A Portfolio of North American Indians 28",,"[""""]","media",0.17551295,,,,,,,,,,,,,,,,,,,,,,, "73604","Frontispiece and Title Page. Vol. II from Icones Plantarum Medico-oeconomico-technologicarum","Hand-colored engraving"," Prints","8 x 6 3/4 in. (20.32 x 17.15 cm) (plate) 9 5/16 × 7 5/16 in. (23.65 × 18.57 cm) (sheet)","Print","Europe","Austria",,"1804","Not on View","19th century"," ",""," ","","","","From Icones Plantarum Medico-oeconomico-technologicarum... (Vienna, 1800-1822)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,484","Artist: Ferdinand Bernhard Vietz","Artist","Austrian","Austrian, 1772–1815","","European Art","Public Domain","valid",3608,4506,0,"1",0,"Sitwell & Blunt 79; Nissen 2062",,"[""""]","media",0.17551295,,,,,,,,,,,,,,,,,,,,,,, "73636","Schonbluhende Hydrangia, from Icones Plantarum Medico-oeconomico-technologicarum...","Hand-colored engraving"," Prints","8 x 6 1/2 in. (20.32 x 16.51 cm) (plate)",,"Europe","Austria",,"1804","Not on View","19th century"," ",""," ","","Plate 47","","From Icones Plantarum Medico-oeconomico-technologicarum..., (Vienna, 1800-1822)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,486","Artist: Ferdinand Bernhard Vietz","Artist","Austrian","Austrian, 1772–1815","","European Art","Public Domain","valid",3630,4506,0,"1",0,"Sitwell & Blunt 79; Nissen 2062",,"[""""]","media",0.17551295,,,,,,,,,,,,,,,,,,,,,,, "127082","Bess","Aqua resin, wood casein, and photographs"," Collages / Assemblages","58 7/8 × 40 3/16 × 1 11/16 in. (149.54 × 102.08 × 4.29 cm)","Collage","North America","United States",,"2016","G373","21st century","","","","Sadie Benning has become known for experimental video narratives that explore aspects of identity, memory, and loss that are indicative of the artist’s experiences as a gay youth. More recently, Benning has explored “Construction” or “Jigsaw” paintings—large intensely hand- worked aqua-resin paintings and mixed media works that consist of found images and painted shapes that are each individually cut out of wood and reassembled into a relief. Here the work titled “Bess” and the prominent use of crosses and circles in the composition directly reference the self-taught artist Forrest Bess (1911- 1977), an influential American painter who created a complex visual language that at once spoke to abstraction, but was also symbolic of his controversial ideas regarding transgender identity. In particular, Benning's work appears to directly reference Bess' painting Untitled #42 (1950) which symbolically depicts male and female genders as the embodiment of life and death. Forrest Bess undoubtedly represents a pioneering figure for transgender identity and experimentation for an artist like Sadie Benning, making this work very much an homage to the late painter.","two dimensional object with a mixture of photographs and collage-like elements; surface is slightly raised with photographs and shapes imbedded like puzzle pieces; gray textured backing; series of red plus signs dispersed across upper half; two horizontal red lines-one in upper left quadrant and one in upper right quadrant; red vertical line on upper middle right side, and runs downward to bottom, intersecting with a small square-shaped black and with photograph of a cratered rock; five red circles with photographs of space, portraits and life scenes placed in middle of circle; other photographs of life scenes and space dispersed across surface; various colored dots in orange, blue, red, black and white decorate background","",,"Gift of funds from Mary and Bob Mersky and the Marguerite S. McNally Endowment for Art Acquisition","2017.38","Artist: Sadie Benning","Artist","American","American, born 1973","%C2%A9 Sadie Benning","Global Contemporary Art","In Copyright","valid",7394,10854,1,"1",1,,,"[""""]","media",0.17476536,true,,,,,,,,,,,true,true,,,,,,,,,, "142675","Skinning the Mirror #12","Silver nitrate, acrylic paint, paper, and glass on canvas"," Paintings; Collages / Assemblages","73 1/2 × 55 3/16 in. (186.7 × 140.2 cm) 73 1/2 × 56 1/4 × 2 in. (186.7 × 142.9 × 5.1 cm) (mount)","Collage and painting","North America","United States",,"2021","G373","21st century","","","","This mixed media work by Edgar Arceneaux is part of his “Skinning the Mirror” series that features material-based abstractions in which the artist transforms silver nitrate—used in the manufacturing of mirrors—into a painting medium. Mirrors and reflective materials are a recurring aspect of Arceneaux’s work, often used to engage the viewer’s gaze or serve as a metaphor for gaps in history or memory. Here, the painting’s reflective surface appears battered and fractured, an undulating, fissured abstraction of color, texture, and black voids. The artist’s mother, Merc Arceneaux Sr., died from dementia while Arceneaux was painting this series, which became a visual metaphor for the painful loss of memory and recognition and the vulnerability of mind and body he experienced during his mother’s decline. By interrupting the mirror’s reflective properties, Arceneaux invites a poetic interpretation and space for contemplating absense and mourning. Commenting on the series, Arceneaux explains: “Everything cracks when the mother dies, a shattering in the brain and the family. Dementia, the slow mental deterioration of the mind and body, mixes up actual and imagined memories into a confusing puzzle. I could be at one instance the son, the father, then the brother, or my mother’s husband. It revealed to me a fundamental truth, no person is an individual, we are a platitude of relationships. Though these works are not autobiographical or narrative, the poetics of loss, grief, and love are in there.”","Abstract image; rectangle with black irregular streaks and spots; iridescent gold and bronze; spiderwebbed areas at bottom center and center right; collaged broken glass and brown paper elements; black canvas ground mounted on tan stretched canvas mount; received unglazed","","From Skinning the Mirror series","Gift of funds from Mary and Bob Mersky","2021.112","Artist: Edgar Arceneaux","Artist","American","American, born 1972","","Global Contemporary Art","In Copyright","valid",1500,2000,1,"1",1,,,"[""""]","media",0.17476536,,,,true,,,,,,,,,,,,,,,,,,, "9591","The Head of Truth","Black and white chalk on blue laid paper"," Drawings","11 3/4 x 9 5/8 in. (29.85 x 24.45 cm) (sheet, irregular)","Drawing","Europe","Italy",,"c. 1744","Not on View","18th century","","","Watermark: [undecipherable]","This is a study for the head of Truth in the large painting Time Discovering Truth on the ceiling of the Palazzo Barbarigo in Venice painted in 1744-45. Giambattista Tiepolo was, along with Caneletto and Francesco Guardi, one of the leading Venetian painters of the era, and among them he was the only one to paint works of enormous scale. He was a versatile draftsman, able in various media. He often used black and white chalk on blue paper to work out the details of his compositions.","","Jerome Hill, St. Paul, MN.",,"Gift of Jerome Hill","66.29","Artist: Giambattista Tiepolo (Giovanni Battista Tiepolo)","Artist","Italian","Italian (Venice), 1696–1770","","European Art","Public Domain","valid",1549,1920,0,"1",0,,,"[""""]","media",0.17278399,,,,,,,,,,,,,,,,,,,,,,, "106741","Banded Bowl","Bloodwood, macassar ebony, silver"," Woodwork","3 1/4 x 9 9/16 x 9 9/16 in. (8.26 x 24.29 x 24.29 cm)",,"North America","United States",,"1990","Not on View","20th century","Signature, Date and Inscription see Signed","on bottom, in black: [BLOODWOOD, MACASSAR EBONY & SILVER 2/8/90 Robert W. Chatelain]","","Chatelain is a self-taught wood turner who began creating vessels in 1985. Initially, his aim was to highlight the natural grain in the wood through turning. Gradually, he adopted a mixed-media approach to woodturning, using laminated woods and filling voids in burls with colored epoxy resins. Chatelain writes ""my greatest respect is given to craftsmen who integrate the constructed with the natural."" This piece, which combines an exotic wood vessel with a silver band, demonstrates Chatelain's aspiration to be like the craftsmen that he so admires.","lozenge-shaped with a very small shallow bowl; body of medium finish; bowl is striated medium brown and dark brown; silver band in two parts with two small screws that fits in groove around shoulder","","From ","Gift of Daniel Greenberg and Susan Steinhauser","2008.109.4a-e","Artist: Robert W. Chatelain","Artist","American","American, born 1945","%C2%A9 Robert W. Chatelain","Arts of the Americas","In Copyright","valid",3944,2886,1,"1",0,,,"[""""]","media",0.17168275,,,,,,,,,,,,,,,,,,,,,,, "136245","Real Friends","Charcoal, chalk, and pastel on tan wrapping paper"," Drawings; Works on Paper","45 × 35 5/16 in. (114.3 × 89.69 cm) (sheet) 51 1/2 × 40 3/4 × 1 1/2 in. (130.81 × 103.51 × 3.81 cm) (outer frame)","Drawing","North America","United States",,"1997","Not on View","20th century","","LRC in black: Hicks 97","","In Real Friends, Nicola Hicks brings to bear her alluring skill with friable media, her fantasy, and her sly humor. Working with chalk, charcoal, and pastel, she varies her touch from grinding pressure to the gentlest strokes, then she smears and blends passages to achieve rich velvety effects. Initially, we are taken by the sweet innocence of the two little girls in matching outfits—are those Mouseketeer ears'—but our first impression is undercut by the stout, rat-like tails protruding below the hems of their dresses.","two standing little girls wearing identical black dresses, red tights, and black shoes with large black balls on the uppers, with identical updone hairstyles; each girl has a thick tail emerging from beneath their skirts; girls face each other with hands touching; in black and red on tan paper","[Flowers Gallery, London and New York, 1997]; Carol and Kim Bemis, Minneapolis, 1997-2019; given to MIA, 2019.","From ","Gift of Carol and Judson Bemis Jr.","2019.120","Artist: Nicola Hicks","Artist","British","British, born 1960","%C2%A9 Nicola Hicks","Arts of the Americas","In Copyright","valid",6955,8715,1,"1",0,,,"[""""]","media",0.17168275,true,,,,,,,,,,,,,true,,,,,,,,, "128366","Montana del Fuego","Sisal"," Textiles","53 3/4 × 81 × 6 in. (136.53 × 205.74 × 15.24 cm)","Textile","Europe","Poland","Polish","1986","Not on View","20th century","","signature and title on red label on back: M. Abakanowicz / Montana del / Fuego / 142 x 205 cm / 1986 | white label sewn on back: \""Montana / Del Fuego / 142 x 205 cm\""","","Magdalena Abakanowicz worked in a variety of media but she is best known for her largescale sculptures of headless human figures, and three-dimensional textiles made of coarse sisal—a fiber derived from ropes and seldom used in weaving. Montana del Fuego demonstrates Abakanowicz’s distinctive fusion of weaving and sculpture as a “flat” wall hanging unexpectedly erupts into voluminous folds and trailing fringe. Abakanowicz was born in Falenty, Poland in 1930. The enthusiastic reception of her art in the West had few parallels among her Soviet contemporaries.","chunky, rectangular orange textile; two curved, vertical flaps at center separated by swath of long, vertical strands of sisal; three vertical slits on either side of vertical flaps, each with long strands; has wooden header","",,"The P.D. McMillan Memorial Fund","2018.16.1","Artist: Magdalena Abakanowicz","Artist","Polish","Polish, 1930 - 2017","%C2%A9 Magdalena Abakanowicz","European Art","In Copyright","valid",10804,7412,1,"1",0,,,"[""""]","media",0.17168275,true,,,,,,,,,,,,,,,,,,,,,, "140319","June 29, 2020: THE FEED","Digital file"," Digital Art","29 x 20 in. (73.66 x 50.8 cm) (sheet, as printed)","Digital file","North America","United States",,"6/29/2020","Not on View","21st century","","","","This artwork is part of the series COVID-19: Labor Camp Report. Artist's statement on this artwork originally published on the @laborcamp Instagram account: So much of the pandemic experience unfolds through the constant stream of social media feeds. Not just the plague, but the rest of the political and cultural landscape becomes contorted in the collective, cyclic regurgitation. The viral nature of the feed has been with us for a while, but new strands of deviant infections seem to propagate now even more feverishly than ever before.","","","From COVID-19: Labor Camp Report","Gift of funds from Mary and Bob Mersky","2021.1.98","Artist: Piotr Szyhalski / Labor Camp","Artist","American (born Poland)","Ameircan (born Poland), born 1967","%C2%A9 Piotr Szyhalski %2F Labor Camp","Global Contemporary Art","In Copyright","valid",6000,8700,1,"1",1,,,"[""140319"",""140453""]","media",0.17168275,,,,,,,,,,,,,,,,,,,,,,, "13099","Medium pitcher","Glazed earthenware"," Ceramics","H.6-3/4 x W.5-7/8 x D.5-15/16 in.","Medium pitcher","North America","United States",,"1947-c. 1955","Not on View","20th century","","","","","round-bodied pitcher with organic, flat handle extending from side of body opposite forward-tilting spout; white interior; peach exterior","","From Town and Country line","Gift of Jennifer Komar Olivarez and Enrique Olivarez, Jr.","2000.233.2","Designer: Eva Zeisel; Manufacturer: Red Wing Potteries","Artist","Hungarian","Hungarian, 1906-2011","%C2%A9 Estate of Eva Zeisel","Decorative Arts, Textiles and Sculpture","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "18359","Medicine Chest","Wood, glass"," Woodwork","7 7/8 x 6 1/4 x 6 7/8 in. (20 x 15.88 x 17.46 cm)","Medicine Chest","North America","United States",,"18th century","Not on View","18th century","","","","","medicine chest (a) with key (b) , 2 glass bottles (c,d) , needs numbering","","From ","Gift of Mr. and Mrs. Philip Little, Jr.","58.24.6a-d","","Artist",,,"","Decorative Arts, Textiles and Sculpture","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "17483","Medicine Book","Palm leaves, wood, pigment"," Books","14 3/4 x 2 in. (37.47 x 5.1 cm)","Medicine Book","Asia","Sri Lanka",,"19th century","Not on View","19th century","","","","","Medicine Book (old) with modern cover- painted all-over design.","","From ","Bequest of Miss M. Emma Roberts","49.15.9a-c","","Artist",,,"","Chinese, South and Southeast Asian Art","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "15917","Medicine Bottle","Glass"," Glass","3/4 x 4 3/4 x 3/4in. (1.9 x 12.1 x 1.9cm)","Medicine Bottle","North America","United States",,"19th century","Not on View","19th century","","","","","Rectangular, with short neck finished with narrow rim; Bluish glass; Rim chipped","","From ","Gift of Russell A. Plimpton","38.10","","Artist",,,"","Decorative Arts, Textiles and Sculpture","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "55271","Medieval Landscape","Etching, drypoint"," Prints","7 13/16 x 13 3/4 in. (19.84 x 34.93 cm) (plate)",,"Europe","France",,"20th century","Not on View","20th century","","","","","","","From ","Bequest of Mrs. Charles S. Pillsbury, 1958","P.12,785","Artist: Henry de Waroquier","Artist","French","French, 1881-1934","","Prints and Drawings","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "58257","""Le Penseur"" (Meditation)","Etching"," Prints","Image Size: 8-7/16 x 6-3/8 in. (21.4 x 16.2 cm)",,"Europe","Spain",,"19th Century","Not on View","19th Century","Yes","Lower Left- on sheet","","","","","From ","","P.5,368","Artist: Mariano Fortuny y Carbo","Artist","Spanish","Spanish, 1838 - 1874","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Beraldi 23 ",,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "113293","Medicine figure","Wood, cotton cloth, metal, shell"," Sculpture","26 1/2 x 4 1/4 x 4 13/16 in. (67.31 x 10.8 x 12.22 cm)","Medicine figure","Africa","Liberia","Loma","Date Unknown","Not on View",,"","","","","small abstracted wooden figure with head and body covered in cloth; face has large bulbous nose; figure wears a long pendant at chest with brown string, metal disc and two cowrie shells; long metal stick attached to figure's back; encrustations on cloth on head overall; brown garments","","From ","Gift of William Siegmann","2011.70.46.1","","Artist",,,"","Art of Africa and the Americas","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "120470","White Oak Meditation","White oak, mahogany"," Woodwork; Sculpture","28 3/4 × 31 1/4 × 5 1/4 in. (73.03 × 79.38 × 13.34 cm)","Sculpture","North America","United States",,"2005","Not on View","21st century","Signature and Date","on back at URC, incised: [G.P.P. \'05]","","","rough-hewn slab on wood in roughly square shape with vertical highly textured ribs on front and horizontal chisel marks on back; rough-hewn sloping base; medium to dark tones","","From ","Gift of Ruth and David Waterbury in celebration of the 100th anniversary of the Minneapolis Institute of Arts","2014.107.9","Artist: George Peterson","Artist","American","American, born 1966","%C2%A9 George Peterson","Decorative Arts, Textiles and Sculpture","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "42734","Duces Mediolani","Hand-colored engraving"," Prints","15 5/8 x 9 5/8 in. (39.69 x 24.45 cm) (plate)",,"Europe","Italy",,"18th century","Not on View","18th century","","","","","","","From ","Gift of Harlan D. Boss","P.90.27.202","","Artist",,,"","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.17059016,,,,,,,,,,,,,,,,,,,,,,, "125310","Memorial of Making Love","Mixed media; plastic, felt, metal, fabric, paper, board, ink"," Books","17 1/2 × 19 3/4 × 2 3/4 in. (44.45 × 50.17 × 6.99 cm) (closed)","Artist's book",,,,"2005","Not on View","21st century","Signature, Title, Date","Signature, title, and date written in marker on plastic cover: [Memorial of Making Love / Multerer / 2005]","","","bound book within plastic cover tied with gray tulle tape; title written in cursive on plastic cover; two thick felt pieces with two squares cut out to expose a dirty, rusted belt affixed to book cover; book itself has many pages of mixed media washed over with black ink; lender's archive #193","William P. Kosmas, London, England (d. 2017); Estate of William P. Kosmas, Minneapolis","From Cadex Editions","Gift of William P. Kosmas","2018.123.13","Artist: Gerhard Multerer","Artist","German","German, born 1957","%C2%A9 Gerhard Multerer","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.16732408,,,,,,,,,,,,,,,,,,,,,,, "125479","Das 20. Jarhundert","Ink on paper"," Books","10 1/8 × 13 1/2 × 3 1/4 in. (25.72 × 34.29 × 8.26 cm) (closed)","Illustrated book",,,,"2008","Not on View","21st century","","","","","bound book with two metal cover plates; black felt covers plates; duct tape label on cover; wood spine; black tulle tape secures front and back cover together; inner pages and cover made of mixed media materials such as rope, waxed canvas and painted metal; text; lender's archive #118","William P. Kosmas, London, England (d. 2017); Estate of William P. Kosmas, Minneapolis; given to MIA, 2018.","From ","Gift of William P. Kosmas","2018.123.50","Artist: Gerhard Multerer","Artist","German","German, born 1957","%C2%A9 Gerhard Multerer","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.16618371,,,,,,,,,,,,,,,,,,,,,,, "119078","Location, Volume 3","Archival pigment prints; bound volume"," Prints; Books","10 13/16 × 9 1/4 × 3/4 in. (27.46 × 23.5 × 1.91 cm) (book, closed)","Artist's book","North America","United States",,"2010","Not on View","21st century","","","","Since the 1990s, artists and collectors have taken a renewed interest in the artist’s book. Though the modern artist’s book has existed since 1900, increasing numbers of contemporary artists and photographers have experimented with the genre, many drawn to its distinctive and versatile creative potential. Leading book arts workshops, such as the Minnesota Center for Book Arts (Minneapolis) and the Center for Book Arts (New York City), and specialized book publishers have been at the forefront of this effort. Location Books of Minneapolis is among only a handful of publishers nationally that exclusively focuses on the artist’s book. Founded in 2010, Location has showcased the work of more than 25 emerging and mid-career artists and photographers, including David Rathman, Chloe Piene, Ann Woo, and Tetsuya Yamada.","a book: grey cover; color reproductions of artwork in different media--drawings, collage, photographs; b (print): loose print in back of book: ""Spiral Jetty 1"" by Megan Vossler; rocks with snow (or salt?); beach beyond; blue sky with pale grey at horizon; separate label with print with artist's signature in black; numbered 2/50","Location Books, Minneapolis (publisher); sold to MIA, 2014.","From ","The Eugene and Virginia Palmer Fund for Prints and Drawings","2014.27.1.3a,b","Artist: Jan Albers; Artist: Allen Brewer; Artist: Louise Despont; Artist: Joe Hardesty; Artist: Ginny Maki; Artist: Jens Nordmann; Artist: Chloe Piene; Artist: David Rathman; Artist: Deb Sokolow; Artist: Megan Vossler; Publisher: Location Books, Minneapolis","Artist","American","American, born 1958","%C2%A9 2010 Location Books%2C Minneapolis","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.16535778,,,,,,,,,,,,,,,,,,,,,,, "142338","Necklace","Mixed media crochet"," Accessories","9 × 8 9/16 × 1 1/16 in. (22.9 × 21.7 × 2.7 cm)","Necklace","North America","United States",,"c. 1985-1987","Not on View","20th century","","on back in gold: reed (?--very light)","","Irene Reed was a Connecticut-based artist who worked with a diverse array of media -- including found items -- and off-loom fiber techniques, but was best known for her crochet creations -- typically hats, purses, accessories, and small sculptures. An important technical innovation of Reed's was to create three-dimensionality by building crochet stitches over sections of trapunto quilting. This winged cloche is reminiscent of the headwear of the Greco-Roman messenger god, Hermes/Mercury. But such a serious reading of the hat quickly unravels when one realizes that the ""jewels"" on the matching necklace are actually found buttons.","black crocheted chevron-shaped front element with tapering crocheted neck band, with loop and square button closure; chevron decorated with various buttons--clear round, blue and purple squares, pink domed basket-weave--loops of iridescent black wire in flower shapes, shield with stripes and stars at front center, and iridescent wing form ornaments at edges; rust colored backing fabric","",,"Gift of Joanne G. Pollara","2021.49.1.2","Artist: Irene Reed","Artist","American","American, 1946 - 2012","","Arts of the Americas","In Copyright","valid",5976,6790,1,"1",0,,,"[""""]","media",0.15745063,,,,,,,,,,,,,,,,,,,,,,, "142339","Crocheted hat","Mixed media crochet"," Accessories","5 1/4 × 8 1/4 × 7 1/2 in. (13.3 × 21 × 19.1 cm) (approx.)","Hat","North America","United States",,"c. 1985-1987","Not on View","20th century","","","","Irene Reed was a Connecticut-based artist who worked with a diverse array of media -- including found items -- and off-loom fiber techniques, but was best known for her crochet creations -- typically hats, purses, accessories, and small sculptures. An important technical innovation of Reed's was to create three-dimensionality by building crochet stitches over sections of trapunto quilting. This winged cloche is reminiscent of the headwear of the Greco-Roman messenger god, Hermes/Mercury. But such a serious reading of the hat quickly unravels when one realizes that the ""jewels"" on the matching necklace are actually found buttons.","pair of ""wings"" extend back over top of head, in black and metallic blue with some touches of lavender and pink; iridescent wing-shaped ornaments at left and right front; round metallic silver circle on forehead with domed clear button at center; cap is metallic dark blue with black and metallic blue band around bottom","",,"Gift of Joanne G. Pollara","2021.49.1.1","Artist: Irene Reed","Artist","American","American, 1946 - 2012","","Arts of the Americas","In Copyright","valid",6082,5078,1,"1",0,,,"[""""]","media",0.15745063,,,,,,,,,,,,,,,,,,,,,,, "107173","Wasserfall (Waterfall)","Cotton; printed"," Textiles","340 x 52 in. (863.6 x 132.08 cm) (approx.)",,"Europe","Austria",,"1910-1912","Not on View","20th century","","","","The Wiener Werkstätte began producing and selling printed textiles under its own label in 1910, announcing in the Viennese daily newspaper Neue Freie Presse that their products were available exclusively at the Wertheim department store in Berlin. Wiener Werkstätte pattern books from the early 1910s contain not only samples of the patterns, but also suggestions for their use in clothing and home furnishings. While Hoffmann's textile patterns can be considered geometric, they are less rigidly so than his works in other media during ths period, making them ideal for use in clothing and accessories. Consumers used Wasserfall, or Waterfall, with its slightly curvilinear lines, for dresses and lampshades, among other items.","repeated pattern of dashed lines with lines in slight wave pattern; black printed on grey; geometric pattern; block printed; printing does not extend to ends of fabric--wider bands at each end, narrow uneven bands at sides","","From ","Gift of Wells Fargo Bank, Minnesota","2009.11.1","Designer: Josef Hoffmann","Artist","Austrian (born Czechoslovakia)","Austrian (born Czechoslovakia), 1870–1956","","European Art","No Known Copyright","valid",6494,4665,1,"1",0,,,"[""""]","media",0.15562603,,,,,,,,,,,,,,,,,,,,,,, "134371","Original Plumbing, no. 3: The Health and Safer Sex Issue","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","8 × 5 3/8 × 1/4 in. (20.32 × 13.65 × 0.64 cm) (closed)","Zine",,,,"Spring 2010","Not on View","21st century","","","","Original Plumbing is a trans male print quarterly that explores topics relevant to transmasculinity and nonbinary identity through portraiture, pictorials, interviews, advice articles, and essays. With content ranging from cheeky, candid photography to deeply personal accounts of transition and identity, Original Plumbing aims to capture and celebrate “a true diversity in the FTM (female to male) community; in size, age, body, surgery, hormone use and non-hormone use.” As an independently published zine that began in 2009, Original Plumbing was a space for trans men and their stories when such a space did not exist in the media.","Saddle stitched binding, photographic image of figure against a brick wall, with text printed in color offset lithography on coated paper covers; 52 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.693","Artist: Amos Mac , et al.; Printer: 1984 Printing, Oakland, Calif.; Publisher: Amos Mac , et al., San Francisco","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2007,2810,1,"1",1,,,"[""""]","media",0.15562603,,,,,,,,,,,,,,,,,,,,,,, "127658","Sign","Wool, tapestry weave"," Textiles","99 × 136 in. (251.46 × 345.44 cm)","Tapestry","Europe","Norway",,"1979","Not on View","20th century","","","LLC on back, on label: JAN GROTH / \""Sign\"", 1979 / 99 x 136 in. / Executed by / Bened Ikte and Jan Groth | second label in Norwegian above first label","Jan Groth is best known for his decades-long exploration of the relationship between form and field, line and picture plane. He alternates between different media - crayon on paper drawings, metal sculptures, and wool tapestries - but he is best known for his tapestries, which he regards as central to his oeuvre. Groth has said that his work is about ""silence and light,"" and ""the balance between almost something and almost nothing."" He cites the restrained work of Giorgio Morandi, Alberto Giacometti, and Henri Michaux as important early influences.","black ground; white V-shaped element on top half","","From ","The John R. Van Derlip Fund","2017.104","Artist: Jan Groth; Weaver: Benedikte Groth","Artist","Norwegian","Norwegian, born 1938","%C2%A9 Jan Groth","European Art","In Copyright–Educational Use","valid",10434,7869,0,"1",0,,,"[""""]","media",0.15562603,,,,,,,,,,,,,,,true,,,,,,,, "131365","Black and Silver","Color pigment print on hand-cut paper with hand-sculpted aluminum and copper wire collage"," Prints; Collages / Assemblages; Multiples","23 3/4 × 28 1/4 × 5/8 in. (60.33 × 71.76 × 1.59 cm) (image, sheet) (variable)","Multiple","Africa","Nigeria",,"2018","Not on View","21st century","","Signed and dated in pencil on label affixed verso: El Anatsui 2018","Numbered in pencil on label affixed verso: 12/30","In this mixed-media multiple, El Anatsui presents a hybrid version of his iconic garment-like woven assemblages composed of discarded liquor bottle caps. In this editioned work, he merges a digital image of a portion of a woven assemblage with a section of actual folded and crumbled aluminum bottle caps attached along one edge. And like the artist’s larger works, the multiple emphasizes the formal characteristics of color, pattern, and harmonized design. The result is a jewel-like surface that invites close inspection and reveals El Anatsui’s innovative transformation of common, discarded materials into objects of beauty and wonder.","color printed image with printed metal sculptural elements at top; roughly hexagonal shapes made from colorful metal liquor packaging elements joined together with tiny bits of copper wire","Benefit Print Project, New York (publisher); sold to MIA, 2019.","From ","The Barbara S. Longfellow Fund for Works on Paper","2019.32","Artist: El Anatsui; Printer: Ribuoli Digital, New York; Publisher: Benefit Print Project, New York","Artist","Ghanaian (active Nigeria)","Ghanaian (active Nigeria), born 1944","%C2%A9 El Anatsui","Prints and Drawings","In Copyright","valid",9508,7608,1,"1",1,,,"[""""]","media",0.15562603,,,,,true,,,,,,,,,,,,,,,,,, "103187","Milcendeau's House at Bois Durand","Brush and black ink, ink wash, charcoal, watercolor, and gouache with red crayon on tan paper, laid down on board"," Drawings","11 × 19 3/4 in. (27.9 × 50.2 cm)","Drawing","Europe","France",,"1915","Not on View","20th century","","Lower right: Charles Milcendeau / 1915","","In 1905, Charles Milcendeau bought a farmstead in the heart of the Vendée marshes, near his hometown of Soullans in western France. Depicted here is his modest house with its distinctive doorway, painted to look like a pointed stone arch. The barn at right contained his studio. The brown leaves and barren trees signal that the workers could be engaged in an early spring cleanup. To make this very personal drawing, Milcendeau combined various media, including ink, watercolor, gouache, crayon, and charcoal. Today the buildings serve as a museum dedicated to the artist’s life and art.","cat. 54; woman at L shoveling near well and barn; man at R raking; house at R in background; beige paper; light brown mat with simple light stained wood frame","[Galerie Fischer-Kiener, Paris, until 1993; to Weisberg]; Yvonne and Gabriel Weisberg, Minneapolis (1993–2021; given to Mia)","From ","Gift of Dr. Gabriel P. and Yvonne M.L. Weisberg","2021.67.3","Artist: Charles Milcendeau","Artist","French","French, Soullans, Vendée 1872–Soullans, Vendée 1919","","European Art","Public Domain","valid",7806,4349,0,"1",0,,,"[""""]","media",0.15562603,,,,,,,,,,,,,,,,,,,,,,, "5959","Untitled","Sisal, wool, and copper"," Textiles","86 x 92 in. (218.44 x 233.68 cm) (approximate)","cloth","Europe","Germany",,"1960s","Not on View","20th century","","","","The 1950's and 60's were a time of expanding the boundaries of traditional artistic expression. Artists experimented with new forms of presentation as well as exploring the possibilities of readily available materials. Young Eastern European and American artists were particularly active in the field, which drove fabric beyond rectangular wall panels into a more sculptural form. This is a particularly early example of fiber and mixed media contemporary art by an artist who gained considerable prominence in Europe as she continued to explore the possibilities of flexible materials resulting in abstract, boldly textural sculptural pieces.","Natural sisal and possible wool; two nuances colors; woven; cotton warp; five vertical panels (four sewn together); left to right reliefs as 'branches' added on the panel; seven copper rings of different sizes with branches braided inside of the rings; more relief branches and six copper rings leaving holes; three circles woven in relief and 1/2 circle in relief","",,"Gift of an Anonymous Donor","99.38.13","Artist: Ritzi Jacobi","Artist","Romanian","Romanian, born 1941","%C2%A9 Ritzi Jacobi","European Art","In Copyright","valid",10170,8465,1,"1",0,,,"[""""]","media",0.15562603,true,,,,,,,,,,,,,,,,,,,,,, "4166","The Rock Series: Zap","Bamboo, bent rattan, wire, handmade paper; assemblage"," Textiles","21 x 39 x 5 in. (53.34 x 99.06 x 12.7 cm)",,"North America","United States",,"1989","Not on View","20th century","","","","In the early 1980s, Nance O'Banion visited the famous Zen rock garden Ryoanji, in Kyoto, Japan. While comparing her experience of the serenely elegant garden with her companion's, she had the insight that ""the rocks allowed us our own interpretation and meanings drawn from our own personal issues and perspectives."" Shortly after her trip O'Banion created a group of mixed media sculptures called The Rock Series, that she describes as having a ""microscopic Zen garden reality."" Zap, with its jagged shape, bristly texture and vibrant colors, seems to lack the contemplative quality usually associated with a Zen garden, yet it encourages viewers to look deeply and to form their own associations.","","",,"Gift of Funds from Ellen and Fred Wells and Sheila Hicks","91.137","Artist: Nance O’Banion","Artist","American","American, born 1949","%C2%A9 Nance O%27Banion","Arts of the Americas","In Copyright","valid",3843,4818,1,"1",0,,,"[""""]","media",0.15562603,true,,,,,,,,,,,,,,,,,,,,,, "112389","Preparatory drawing for ""Monuments (Installation Salle Petriere)""","Graphite and colored pencil on graph paper"," Drawings; Works on Paper","11 3/4 x 16 1/4 in. (29.85 x 41.28 cm) (sheet) 15 3/16 x 19 3/4 in. (38.58 x 50.17 cm) (mount)","Drawing","Europe","France",,"1986","Not on View","20th century","","LLC, in pencil: 21 Monuments / instalations variable / C. Boltanski / 1986","on back of mount, label: gallery label","Born to a Corsican mother and Jewish father of Ukrainian heritage at the end of Germany’s hold over Paris in World War II, Christian Boltanski is a self-taught multi-media artist who works with found objects including old photographs, clothing, and phonebooks. Using these found objects, he creates dramatic installations that explore cultural and personal histories as well as the inconsistency of memory. This work is the artist’s preparatory drawing for the 1986 Monuments (Installation Salle Petriere), a major installation by Boltanski in the Minneapolis Institute of Art's collection. In addition to documenting the details of the work’s multiple components, it serves as a certificate of authenticity for this unique work.","preparatory drawing/""certificate of authenticity"" for ""Monuments"" installation; 21 elements consisting of a grid of 12 colored rectangles at bottom of each element (turquoise, yellow or grey), with rectangular element at top center of each with a sketch of a face, and three circles (lights) connected with lines (wires) drawn to bottom of sheet","","From ","Gift of Gordon Locksley, from the collection of George T. Shea and Gordon Locksley","2011.55","Artist: Christian Boltanski","Artist","French","French, 1944 - 2021","%C2%A9 Christian Boltanski %2F Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","Global Contemporary Art","In Copyright","valid",4771,3465,1,"1",0,,,"[""""]","media",0.1550754,,,,,,,,,,,,,,,,,,,,,,, "121045","Pollination","Color monotype and collage with hand-drawn additions in graphite, colored pencil, chalk, oil stick, and varnish on paper"," Drawings; Prints; Collages / Assemblages; Works on Paper","29 9/16 × 22 1/8 in. (75.09 × 56.2 cm) (sheet)","Monotype with collage","North America","United States","Diné (Navajo)","2011","Not on View","21st century","Inscribed in pencil, verso: ZE13","Signed, dated, and titled in pencil, verso: June 2011 \""Pollination\"" Emmi Whitehorse","Artist\'s mark in red pencil, LRC: III","Emmi Whitehorse blends the physical with the metaphysical, the real with the imagined in this mixed-media work on paper. Informed by nature’s beauty and Diné culture, the work takes the form of an ethereal landscape. Its ambiguous, atmospheric space is populated by an assortment of abstract, symbolic, and biomorphic forms that seem to float across a ground of deep, luxuriant color. Seeds, leaves, plants, and dried flowers intermingle with numbers, Navajo signs, and fragments of curved lines. Though neither descriptive nor narrative, the work demonstrates Whitehorse’s fine-tuned ability to fuse disparate elements within a lyrical realm of experience, memory, and contemplation.","abstract image; blue/black ground with white and blue flower petal outlines; clusters of white and blue circles (like hydrangea blossoms); blue leaves; other circular shapes in blues, purple, red and greens","The artist, Santa Fe, N.M.; [Joe Zanatta Contemporary Art, Shawnee, Kansas]; sold to MIA, 2015.","From Pollination","Gift of funds from Barbara S. Longfellow","2015.48.5","Artist: Emmi Whitehorse; Printer: Hand Graphics, Santa Fe, New Mexico; Publisher: Zanatta Editions, Shawnee, Kansas","Artist","American","American (Diné (Navajo)), born 1957","%C2%A9 Emmi Whitehorse","Arts of the Americas","In Copyright","valid",3528,3663,1,"1",1,,,"[""""]","media",0.1550754,true,true,,,,,true,,,,,,,,,,,,,,,, "112159","What is an American?","Lithograph on Japan paper, with hand painting in acrylic, chine colle, collage, and metal grommets"," Prints; Collages / Assemblages; Works on Paper","68 x 39 3/4 in. (172.72 x 100.97 cm)","Print and collage","North America","United States","Salish, Nehiiyawak and Aqui-Dika (Salish-Cree-Lemhi Shoshone)","2003","Not on View","21st century","","LRC, in pencil: JQS Smith","LLC, in pencil: 6/20","Jaune Quick-To-See Smith is an acclaimed contemporary Native American artist who works in a variety of media. Her work explores important themes of Native American culture like assimilation, tradition, stereotypes, and interactions of contemporary Native Americans in today’s world. The central figure of this work is an anonymous Native American male who wears a bandolier bag, traditional-style choker and necklace, decorated leggings, and a frockcoat. The blood coming out of the figure’s left hand references the colors of the American flag. Considering that Native Americans volunteer for military service during wartime at a higher rate than any other group per capita, Quick-to-See Smith asks, “Who is an American'”","collage image, with hand painting; headless body in Native American garments with beaded choker and longer necklaces; Xeroxed images in collage around figure, including repeated buffaloes inside boxes, Perrier labels, Bingo cards, moths, Mickey Mouse ears and hand, silhouettes of dolls with thick curly hair, flowers, pineapple labels, hand with religious figures; red, white and blue painted stripes extending from hand near center; text scattered throughout, including large text at bottom: ""What is an American?""; six sheets jointed together, with grommets at top","The artist, New Mexico, 2003-11; [Joe Zanatta Contemporary Art, Shawnee, Kansas, 2011]; sold to MIA, 2011.","From ","The Richard Lewis Hillstrom Fund","2011.53.3","Artist: Jaune Quick-to-See Smith; Publisher: Brodsky Center, New Brunswick, N.J.","Artist","American (Salish, Nehiiyawak and Aqui-Dika)","American (Salish, Nehiiyawak and Aqui-Dika), born 1940","%C2%A9 Jaune Quick-to-See Smith%2C Courtesy the artist and Garth Greenan Gallery%2C New York","Global Contemporary Art","In Copyright–Educational Use","valid",3996,6780,0,"1",1,,,"[""""]","media",0.15452479,true,true,,,,,,,,,,,,,,,,,,,,, "123632","Untitled","Mixed media collage on paper"," Collages / Assemblages; Works on Paper","9 1/16 × 7 11/16 in. (23.02 × 19.53 cm) 17 × 15 7/16 × 1 1/4 in. (43.18 × 39.21 × 3.18 cm) (outer frame)","Collage","North America","United States",,"1981","Not on View","20th century","Label","","on back of frame: Roger Ramsay Gallery and Weinstein Gallery labels","Hannelore Baron was an internationally recognized German modern artist acclaimed for her highly evocative mixed-media work in collage and assemblage. Born in 1926 to Jewish parents, she and her family endured significant hardships in the 1930s under Germany’s oppressive Nazi regime. Along with her family, she immigrated to America in 1941. Her work is a reaction to her humanistic concerns which, while they have their origins in the hardships endured as an adolescent in Germany in the 1930’s, dealt with current issues. The collages are paper and frayed cloth with drawing, at times containing her printed images, stitching, creasing and tearing. Her assemblages often incorporated her collages, found objects, wood, paint, strings, and the like.","grey-peach wash on bottom of ground, with touches of peach and yellow at bottom center; six applied rectangles of various sizes and orientations at center, including vertical strips of cloth (maroon and blue stripes beneath dirty cream-colored cloth) at center top; grey abstract splotchy imagery at left on largest rectangle (standing figure?); thin lines in sketchy letter-like configurations at bottom center, on applied rectangle in ULQ in reddish-black and on soiled blue and white striped fabric at left center; rectangle of red with white scratches circular design at center bottom","First Bank, Minneapolis; [Weinstein Gallery , Minneapolis, sold to Mersky]; Robert B. Mersky, Minneapolis; given to MIA, 2015.","From ","Gift of Mary and Bob Mersky","2015.120.7","Artist: Hannelore Baron","Artist","American (born Germany)","American (born Germany), 1926–1987","%C2%A9 The Estate of Hannelore Baron","Arts of the Americas","In Copyright","valid",4128,4843,1,"1",0,,,"[""""]","media",0.15184219,true,,,,,,,,,,,,,,,,,,,,,, "123634","Untitled","Mixed media collage on paper"," Collages / Assemblages; Works on Paper","8 1/2 × 6 1/8 in. (21.59 × 15.56 cm) 16 3/8 × 13 7/8 × 1 1/4 in. (41.59 × 35.24 × 3.18 cm) (outer frame)","Collage","North America","United States",,"1981","Not on View","20th century","Label","","on back of frame: Roger Ramsay Gallery and Weinstein Gallery labels","Hannelore Baron was an internationally recognized German modern artist acclaimed for her highly evocative mixed-media work in collage and assemblage. Born in 1926 to Jewish parents, she and her family endured significant hardships in the 1930s under Germany’s oppressive Nazi regime. Along with her family, she immigrated to America in 1941. Her work is a reaction to her humanistic concerns which, while they have their origins in the hardships endured as an adolescent in Germany in the 1930’s, dealt with current issues. The collages are paper and frayed cloth with drawing, at times containing her printed images, stitching, creasing and tearing. Her assemblages often incorporated her collages, found objects, wood, paint, strings, and the like.","cream ground with orange around edges of sheet and pale grey wash; four applied rectangular collage elements; one rectangle of blue and white striped cloth with orange and green lines at right; red blotchy rectangle with black linear marks at top center; mottle black organic form at top center beneath red rectangle; scratchy black marks, ink spots and reddish-black square beneath mottled organic form","First Bank, Minneapolis; [Weinstein Gallery , Minneapolis, sold to Mersky]; Robert B. Mersky, Minneapolis; given to MIA, 2015.","From ","Gift of Mary and Bob Merksy","2015.120.6","Artist: Hannelore Baron","Artist","American (born Germany)","American (born Germany), 1926–1987","%C2%A9 The Estate of Hannelore Baron","Arts of the Americas","In Copyright","valid",3371,4482,1,"1",0,,,"[""""]","media",0.15184219,true,,,,,,,,,,,,,,,,,,,,,, "123633","Untitled","Mixed media collage on paper"," Collages / Assemblages; Works on Paper","6 5/8 × 8 9/16 in. (16.83 × 21.75 cm) 13 3/4 × 15 13/16 × 1 1/4 in. (34.93 × 40.16 × 3.18 cm) (outer frame)","Collage","North America","United States",,"1981","Not on View","20th century","Label","","on back of frame: Roger Ramsay Gallery and Weinstein Gallery labels","Hannelore Baron was an internationally recognized German modern artist acclaimed for her highly evocative mixed-media work in collage and assemblage. Born in 1926 to Jewish parents, she and her family endured significant hardships in the 1930s under Germany’s oppressive Nazi regime. Along with her family, she immigrated to America in 1941. Her work is a reaction to her humanistic concerns which, while they have their origins in the hardships endured as an adolescent in Germany in the 1930’s, dealt with current issues. The collages are paper and frayed cloth with drawing, at times containing her printed images, stitching, creasing and tearing. Her assemblages often incorporated her collages, found objects, wood, paint, strings, and the like.","cream colored ground paper; applied rectangles and squares of paper at left, with some red linear marks along edges of ground sheet and on collage elements; frog-like form at top left of center in black and red; square and rectangle with red and green blotches; rectangle with three shades of pale grey below and to right of frog","First Bank, Minneapolis; [Weinstein Gallery , Minneapolis, sold to Mersky]; Robert B. Mersky, Minneapolis; given to MIA, 2015.","From ","Gift of Mary and Bob Merksy","2015.120.4","Artist: Hannelore Baron","Artist","American (born Germany)","American (born Germany), 1926–1987","%C2%A9 The Estate of Hannelore Baron","Arts of the Americas","In Copyright","valid",4502,3438,1,"1",0,,,"[""""]","media",0.15184219,true,,,,,,,,,,,,,,,,,,,,,, "123631","Untitled","Mixed media collage on paper"," Collages / Assemblages; Works on Paper","8 15/16 × 5 3/4 in. (22.7 × 14.61 cm) 16 7/8 × 13 1/2 × 1 1/4 in. (42.86 × 34.29 × 3.18 cm) (outer frame)","Collage","North America","United States",,"1981","Not on View","20th century","Label","","on back of frame: Roger Ramsay Gallery and Weinstein Gallery labels","Hannelore Baron was an internationally recognized German modern artist acclaimed for her highly evocative mixed-media work in collage and assemblage. Born in 1926 to Jewish parents, she and her family endured significant hardships in the 1930s under Germany’s oppressive Nazi regime. Along with her family, she immigrated to America in 1941. Her work is a reaction to her humanistic concerns which, while they have their origins in the hardships endured as an adolescent in Germany in the 1930’s, dealt with current issues. The collages are paper and frayed cloth with drawing, at times containing her printed images, stitching, creasing and tearing. Her assemblages often incorporated her collages, found objects, wood, paint, strings, and the like.","four applied rectangles on top half of sheet--three on top, with one beneath; rectangles from left to right: green square with white flower at top and white lines at bottom, white rectangle with reddish-purple stylized torso and head of figure with open mouth with white horizontal line on chest, purplish-red rectangle with thin circular white scratch-outs; irregular rectangle of soiled white cloth with blue stripes and pattern in ULC beneath green rectangle; some black ink vertical scratchy lines beneath rectangles; black ink splatters, ULC; brown and reddish brown vertical and horizontal waxy marks around rectangles; ground paper is white with pale grey","First Bank, Minneapolis; [Weinstein Gallery , Minneapolis, sold to Mersky]; Robert B. Mersky, Minneapolis; given to MIA, 2015.","From ","Gift of Mary and Bob Mersky","2015.120.5","Artist: Hannelore Baron","Artist","American (born Germany)","American (born Germany), 1926–1987","%C2%A9 The Estate of Hannelore Baron","Arts of the Americas","In Copyright","valid",3178,4770,1,"1",0,,,"[""""]","media",0.15106349,true,,,,,,,,,,,,,,,,,,,,,, "8425","Puketti (Bouquet)","Cotton; screenprint"," Textiles","54 x 50 in. (137.16 x 127 cm)",,"Europe","Finland",,"20th century","Not on View","20th century","Inscription","","\'Design marjatta metsovaara\'","Finnish design was in the vanguard of the aesthetic revolution that erupted in the 1960s. Featuring oversized, boldly colored compositions printed on cotton, these fabrics are an exuberant expression of a new generation of textile designers. Marimekko is the best known producer of this style but many other Finnish artists worked independently, creating powerful graphics for other textile manufacturers. Marjatta Metsovaara established her own firm, Metsovaara Oy, in Helsinki in 1954. Although she was trained as a weaver and her early successes were due to her innovative design in this media, she shifted her focus to printed cottons in the 1970s. She designed furnishing fabrics for Tampella, clothing textiles for Finn-Flare and umbrella patterns for Green & Green.","Green brown on ground, orange branches, beige, ecru, brown foliage","",,"Gift of Richard Simmons","98.273.29","Designer: Marjatta Metsovaara","Artist","Finnish","Finnish, 1927-2014","%C2%A9 Marjatta Metsovaara","European Art","In Copyright–Educational Use","valid",3585,3938,0,"1",0,,,"[""""]","media",0.15079628,true,,,,,,,,,,,,,,,,,,,,,, "137410","Forthcoming","Color screenprint"," Prints","35 × 45 1/2 in. (88.9 × 115.57 cm) (sheet)","Print","North America","United States",,"2011","Not on View","21st century","","LRC in pencil: CARTER 2011","LLC in pencil: Archive Proof 1/2 | Publisher\'s blindstamp, LLC: HP","Carter is a New York–based conceptual artist whose practice spans a broad array of media and materials, from painting and sculpture to printmaking and experimental film. Grounded in explorations of human identity, social relationships, and visual and psychological perception, Carter’s multidisciplinary approach involves complex assemblages of layered forms, objects, and images of elusive, indeterminant meaning. In his print Forthcoming, Carter juxtaposes an assortment of hard-edged, linear, and biomorphic forms that seem to float within a strange, primordial sea. Among the abstracted forms are suggestions of human heads, facial features, leafless trees, and geometric objects that, despite their disparate qualities, represent a catalogue of physical possibilities for human features and, by extension, personal identity.","Multi-color screenprint with photographic halftone images altered by the artist; figurative elements and layered drawing by the artist printed in flat inks and overprint varnish in select areas.","Highpoint Editions, Minneapolis (publisher); sold to MIA, 2020.","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2020.85.21","Artist: Carter; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1970","Copyright %C2%A9 Carter%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",6450,5100,0,"1",0,,,"[""137410"",""139691"",""139692"",""139693"",""139694"",""139695"",""139696"",""139697"",""139698"",""139699"",""139700"",""139701"",""139702"",""139703"",""139704"",""139705"",""139706"",""139707"",""139708"",""139709"",""139710"",""139711"",""139712"",""139713"",""139714"",""139715""]","media",0.15024565,,,,,,,,,,,,,,,,,,,,,,, "119894","Klinger, Beethoven: XIV. Ausstellung der Vereinigung bildender Künstler Österreichs Secession Wien: April-Juni 1902","Black-and-white and color woodcuts, letterpress; bound volume"," Prints; Books","7 × 6 1/16 × 1/2 in. (17.78 × 15.4 × 1.27 cm) (closed)","Exhibition catalogue","Europe","Austria",,"1902","Not on View","20th century","URC on first page, in black ink: [illegible] 18. [illegible] 902 (?)","","","This little book is a treasure trove of art and information. It describes the Beethoven Exhibition at the Vienna Secession in 1902, a landmark in the development of modern art. Some seventeen artists collaborated to produce an immersive multi-media experience, all centered on the brooding presence of a massive statue of the heroic composer. Along with the details of the exhibition and the community that supported it, the book contains sixteen woodcuts by Secession artists. Formed just five years earlier by artists escaping from the stifling atmosphere of the traditional Austrian Artists’ Association, the Secession already prefigured many artistic tendencies of the 20th century: openness to international ideas, extreme geometric and chromatic simplification, and independent artists’ movements.","Vienna Secession exhibition catalogue with orange paper cover with embossed title; woodcut illustrations in Art Nouveau style of various subjects (landscapes, figures, etc.) and initials/monograms in orange and black; text in black","Illegible ownership signature, dated 18.IV.1902. (Ursus Rare Books, Ltd., New York); sold to MIA, 2014.","From ","The David Draper Dayton Fund","2014.82","Author: Max Klinger; Artist: Ferdinand Andri; Artist: Rudolf Jettmar; Artist: Friedrich König; Artist: Maximilian Kurzweil; Artist: Maximilian Lenz; Artist: Wilhelm List; Artist: Elena Luksch-Makovsky; Artist: Félicien baron de Myrbach-Rheinfeld; Artist: Carl Moll; Artist: Koloman Moser; Artist: Emil Orlik; Artist: Alfred Roller; Artist: Ernst Stöhr; Publisher: Vienna Secession (Weiner Secession); Printer: Adolf Holzhausen, Vienna, Austria","Artist","German","German, 1857–1920","","European Art","No Copyright–United States","valid",3271,3815,0,"1",1,,,"[""""]","media",0.15024565,,,,,,,,,,,,,,,,,,,,,,, "134059","Friends Make the Best Medicine: A Guide to Creating Community Mental Health Support Networks","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","8 1/2 × 5 3/8 × 1/16 in. (21.6 × 13.7 × 0.2 cm) (closed)","Zine",,,,"2013","Not on View","21st century","","","","","Saddle stitched binding, Saddle stitched binding, color illustration of winged figures looking over and flying above a city, with a river running through it, with text; 29 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.381","Artist: The Icarus Project","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",0.14237948,,,,,,,,,,,,,,,,,,,,,,, "134057","Friends Make the Best Medicine: A Guide To Creating Community Mental Health Support Networks [Summer 2006 Draft]","Xerography; bound volume"," Books; Works on Paper","8 1/2 × 5 9/16 × 1/8 in. (21.6 × 14.1 × 0.3 cm) (closed)","Zine",,,,"2006","Not on View","21st century","","","","","Saddle stitched binding, xerographic illustration of winged figures looking out over and flying above a city, with text; 33 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.379","Publisher: The Icarus Project , New York","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2100,2940,1,"1",0,,,"[""""]","media",0.14237948,,,,,,,,,,,,,,,,,,,,,,, "134058","Friends Make the Best Medicine: A Guide to Creating Community Mental Health Support Networks","Color and black-and-white offset lithography, letterpress; bound volume"," Books; Works on Paper","8 1/2 × 5 3/8 × 1/16 in. (21.6 × 13.7 × 0.2 cm) (closed)","Zine",,,,"2013","Not on View","21st century","","","","","Saddle stitched binding, color illustration of winged figures looking over and flying above a city, with a river running through it, with text; 29 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.380","Editor: Sascha Scatter; Publisher: The Icarus Project","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",2041,2857,1,"1",1,,,"[""""]","media",0.14237948,,,,,,,,,,,,,,,,,,,,,,, "4423","Hotizontal Eliptical Motion, Medium","Gelatin silver print"," Photographs","14 15/16 x 18 3/4 in. (37.94 x 47.63 cm) (image) 15 7/8 x 19 13/16 in. (40.32 x 50.32 cm) (sheet)","Photograph","North America","United States",,"1974","Not on View","20th century","","","","","","","From ","Gift of Herbert and Paula Molner","92.19.4","Photographer: Blythe Bohnen","Artist","American","American, born 1940","%C2%A9 1974 Blythe Bohnen","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.14131103,,,,,,,,,,,,,,,,,,,,,,, "77876","Meditation, plate 4 from ""Boutades""","Hand-colored lithograph"," Prints","11 1/8 x 15 1/8 in. (28.26 x 38.42 cm)",,"Europe","France",,"19th century","Not on View","19th century","","","","","","","From Boutades","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.22,083.4","Artist: Henri Bonaventure Monnier; Lithographer: François Seraphin Delpech; Editor: François Seraphin Delpech","Artist","French","French, 1799–1877","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "95372","Poster for Spanish Medical Convention","Color lithograph"," Prints","26 x 19 3/8 in. (66.04 x 49.21 cm) (image) 30 7/16 x 22 11/16 in. (77.31 x 57.63 cm) (sheet)","Poster","Europe","Spain",,"20th century","Not on View","20th century","","","","","","","From ","Anonymous Gift","P.84.52","Artist: Antoni Tàpies","Artist","Spanish","Spanish, 1923–2012","%C2%A9 Antoni Tapies %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",1,,,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "101944","2 Merchants in Medina, Fez, Morocco","Gelatin silver print"," Photographs","12 15/16 x 8 5/8 in. (32.86 x 21.91 cm) (image) 14 x 11 in. (35.56 x 27.94 cm) (sheet)",,"North America","United States",,"October 17, 1995","Not on View","20th century","Signature, Title, Date and Stamp","on sheet below image in black: [FRED SCHEEL]","artist\'s stamp on verso in blue; in stamp in pencil: [17 OCT 1995]; [2 MERCHANTS IN MEDINA / FEZ MORROCO]","","two men seated in a doorway facing each other, conversing","","From ","Gift of Frederick B. Scheel","2007.35.393","Photographer: Frederick B. Scheel","Artist","American","American, 1921-2011","%C2%A9 Frederick B. Scheel","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "43825","Medieval Bronze Candlestick","Drypoint"," Prints","8 5/8 x 5 3/4 in. (21.91 x 14.61 cm) (plate) 10 1/2 x 7 3/4 in. (26.67 x 19.69 cm) (sheet)",,"North America","United States",,"1926","Not on View","20th century","","","","","","","From ","Gift of Elmer L. and Eleanor J. Andersen","P.97.17.15","Artist: George Earl Resler","Artist","American","American, 1882–1954","Copyright of the artist%2C artist%27s estate%2C or assignees","Prints and Drawings","In Copyright–Rights-holder(s) Unlocatable","invalid","","",0,"1",0,"M.172",,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "51087","St. Jerome Meditating on the Last Judgement","Engraving"," Prints","9 1/8 x 7 3/16 in. (23.18 x 18.26 cm) (image)",,"Europe","Italy",,"16th century","Not on View","16th century","Signature","Engraved in L hand corner","","","","","From ","Anonymous Gift","P.85.54.8","Artist: Martino Rota","Artist","Italian","Italian, active 1558 - 1586","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Bartsch 18",,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "31421","Medium Tray, one in a set of three","Sterling silver"," Metalwork","7/8 x 19 7/8 x 11 7/8in. (2.2 x 50.5 x 30.2cm)","Medium Tray, one in a set of three","Europe","Denmark",,"20th century","Not on View","20th century","Stamp; Inscription","","[STERLING]/[(crown)/oval [GEORG JENSEN]/[350B]/ [GI/925/S]/[DENMARK]; at underside edge: [TO OUR NEPHEW FREDERICK WEYERHAEUSER AND HIS BRIDE MARGARET GERTUDE LUDWIG FROM ELSIE WEYERHAEUSER AND HER HUSBAND WILLIAM BANCROFT HILL AND CHARLES AUGUSTUS WEYERHAEUSER AND HIS WIFE MAUD MOON 1929]","","oval tray adorned only at rim by eight sprouting seedlings, set equally around rim and joined by stems to each other at outer rim, scallop design at edge of rim before transition to basin; part of same set as .27.1,2 bowls","","From ","Gift of The Frederick and Margaret L. Weyerhaeuser Foundation","99.195.26.2","Maker: Georg Jensen","Artist","Danish","Danish, 1866-1935","","Decorative Arts, Textiles and Sculpture","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "39842","Baker Park, Medina, Minnesota","gelatin silver print"," Photographs","11 13/16 x 17 1/8 in. (30 x 43.5 cm) (image) 16 1/16 x 19 15/16 in. (40.8 x 50.64 cm) (sheet)",,"North America","United States",,"1994","Not on View","20th century","\'Baker Park Medina, Minnesota 1994 Andrew G. Baugnet\', in pencil, along lower edge on back","","","","2 bird feeders facing opposite directions on top of barbed wire fence posts; trees at right with grasses, wildflowers in front","","From ","Gift of Andrew Baugnet","2001.246.1","Photographer: Andrew Baugnet","Artist","American","American, born 1964","%C2%A9 Andrew Baugnet","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "55596","Medieval Knights in Battle","Engraving"," Prints","20 1/8 x 13 1/8 in. (51.12 x 33.34 cm) (plate)","Print","Europe","France",,"20th century","Not on View","20th century","Watermark","","Watermark: [Rives]","","","",,"Bequest of Mrs. Charles S. Pillsbury","P.58.801","Artist: Albert Decaris","Artist","French","French, 1901 - 1988","%C2%A9 Albert Decaris %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.13745669,,,,,,,,,,,,,,,,,,,,,,, "129410","Self-portrait in Black Sweater II","Charcoal and pastel on pastel cloth"," Drawings","41 7/8 × 29 7/8 in. (106.36 × 75.88 cm) (sheet)","Drawing","North America","United States",,"1988","Not on View","20th century","","LRC, in black charcoal: Schwartz 1988","","New York artist Peri Schwartz was a painter, draftsman, and printmaker. Self-portraiture was a central theme in her work. She took up the subject across media, usually working in a monochrome palette. In this body of work spanning some 30 years, she examined her face, her body—dressed and nude—her hands, her setting, her hair, her clothes, to distill the forms into a geometry of lines and shapes. Her works sit on the border between reality and abstraction. She approached her figurative work with the same spatial rigor that informed her still lifes and studio interiors, drawing from life, searching for shapes, lines, spatial interactions and harmonies to structure the composition and create an underlying logic in its appearance.","black and white portrait of figure with short, light colored hair, wearing a dark, open sweater over a white shirt and dark pants; dark, shaded background; loosely sketched hand in LRC","The artist, New Rochelle, N.Y., 1988–2018; sold to MIA, 2018.","From ","The Plautz Family Endowment","2018.84.1","Artist: Peri Schwartz","Artist","American","American, 1951–2021","%C2%A9 Peri Schwartz","Arts of the Americas","In Copyright–Educational Use","valid",5977,8187,0,"1",0,,,"[""""]","media",0.13473956,true,,,,,,,,,,,,,true,,,,,,,,, "143282","Waiting, from the ""Rivers of Silence"" series","Linen, copper, woven fabric, plaiting, feathers"," Textiles","47 1/2 × 9 in. (120.7 × 22.9 cm)","Textile","North America","United States",,"1977","Not on View","20th century","","","","Harriet Bart is a Minnesota based artist and was a founding member of the feminist art collective WARM (Women’s Art Registry of Minnesota) established in 1973. Over time, Bart’s work has evolved to embrace a variety of media, but textiles were a primary preoccupation of hers in the 1970s during the height of the US fiber art and related wearable art movement. “Waiting,” was initially part of a larger group of five similarly constructed fiber components together entitled “Rivers of Silence” but “Waiting” was sold to a private collector when the group was displayed at WARM’s Minneapolis gallery in 1978. The other four components of the assemblage, “Knowing,” “Watching,” Wailing,” and “Wasting,” were acquired by Mia in 1997. The important acquisition of “Waiting” completes the “Rivers of Silence” set.","black woven band with long twisted strands on one side; three groups of four vertical elements with orange twisted wire ended in black feathers","",,"Gift of the Albert de la Chapelle Estate in honor of Clara Derber Bloomfield and the Dandelion Endowment Fund for Textiles","2022.25","Artist: Harriet Bart","Artist","American","American, born 1941","","Global Contemporary Art","In Copyright","valid",1160,4032,1,"1",0,,,"[""""]","media",0.13473956,,,,,,,,,,,,,,,,,,,,,,, "142728","Beginnings","Color screenprint on handmade paper"," Prints","36 × 36 in. (91.4 × 91.4 cm) (sheet) 43 × 42 in. (109.2 × 106.7 cm) (outer frame)","Print","North America","United States",,"2002","Not on View","21st century","","Signed in pencil, LR: Frankenthaler | Printed signature, LR: Frankenthaler","Numbered in pencil, LL","Closely identified with the second generation of Abstract Expressionists, Helen Frankenthaler invariably used the basic visual elements of color and pictorial space as a means to achieve an emotional resonance in her non-objective compositions. Her innovative technique of pouring diluted paint directly on unprimed canvas—known as stain painting—was her signature style. This act of pouring became a literal metaphor for larger concepts like nature and open landscapes. Using line, color, and texture, Frankenthaler’s aim was always to make aesthetically compelling works that evoked deeper emotions. Beginnings, 2002, is a prime example of her style and techniques being applied across an array of media over her lifetime. The thin layering of oranges, lilac, and blue hues speak to her mastery of screenprinting.","","",,"Gift of Mary and Gary Nussbaum","2021.139.1","Artist: Helen Frankenthaler; Printer: Brand X Editions, New York; Publisher: Lincoln Center for the Performing Arts, New York","Artist","American","American, 1928-2011","","Global Contemporary Art","In Copyright","valid",7063,7260,1,"1",0,,,"[""""]","media",0.13473956,,,,,,,,,,,,,,,,,,,,,,, "3782","Janus","Bronze"," Sculpture","17 x 8 x 9 in. (43.2 x 20.3 x 22.9 cm)","Sculpture","Europe","France",,"modeled 1973 (cast 1975)","Not on View","20th century","","Top section of base: Max Ernst E.A. 3/3 foundry stamp on top section of base: A. Valsuant Perdue","","Max Ernst's creative impulses and active imagination were catalysts to a career of innovation and prolific output that bridged all artistic media with his interest in sculpture awakening in the 1930s. A founder of the Dada movement in Cologne, he also helped found and lead the Surrealist movement in Paris. Ernst's career-long inspiration was drawn from non-Western and natural sources that embodied what he saw as universal forms of expression. These forms often took on an impish aspect out of the artist's conscious effort to debunk the serious side of art through the introduction of playfulness. Thus, in Janus Ernst converted the theme of the ancient Roman god of gates and doorways (who had two faces, one looking in each direction) into a sexually bi-polar totem through a playful use of animal attributes and natural forms for faces and genitalia.","","",,"Gift of Ruth and Bruce Dayton, Sara and David Lieberman, Dolly Fiterman Fine Arts and the John R. Van Derlip Fund","89.106","Artist: Max Ernst","Artist","German","German, 1891 - 1976","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","Global Contemporary Art","In Copyright","valid",4285,6418,1,"1",1,,,"[""""]","media",0.13473956,,,,,,,,,,,,,,,,,,,,,,, "1929","L'Amour","Graphite with stumping on paper"," Drawings","23 × 29 in. (58.42 × 73.66 cm) (image) 31 1/8 × 41 1/4 in. (79.06 × 104.78 cm) (outer frame)","Drawing","North America","United States",,"1967","Not on View","20th century","Signature; Date; embossed watermark","LL in pencil: [E. Ruscha 1967]","Watermark UR, embossed stamp: Strathmore Artist","Ed Ruscha has always been fascinated with language and with transforming text and cultural icons into high art. In 1967, he began a series of “paper ribbon” drawings featuring isolated words as objects set in three-dimensional space. He drew in a trompe l’oeil manner, using various media, cotton swabs, and the palm of his hand to establish subtle tonal gradations and illusionistic effects. Ruscha maintains that he chose words for their appearance, sound, or spelling rather than their meanings or referential associations. L’Amour presents a French word-object whose meaning is well known to English-speaking viewers. Despite Ruscha’s statements to the contrary, the drawing’s soft focus and lyrical expression reinforce the word’s romantic associations.","""L'Amour"" in light gray on darker gray ground","The artist, Los Angeles, 1967-72; sold to MIA.",,"The David M. Daniels Fund","72.50","Artist: Edward Ruscha","Artist","American","American, born 1937","%C2%A9 Ed Ruscha","Arts of the Americas","In Copyright–Educational Use","valid",9454,7513,0,"1",1,"Turvey D1967.24",,"[""""]","media",0.13473956,,,,,,,,,,,,,,,,true,,,,,,, "5736","Variation on Pink Spice","Cotton; pieced quilt"," Textiles","95 3/16 x 87 11/16 in. (241.78 x 222.73 cm)",,"North America","United States",,"mid 19th century","Not on View","19th century","","","","Traditional quilts are bed covers made up of three layers: a decorative top, an unseen middle filling layer that acts as an insulator for warmth, and a bottom cloth. These three layers are sewn together with small stitches that add to the decorative effect and create a unified whole. Considerable artistry and technical skill are required and today many artists are using the quilt media to create spectacular wall hangings. Frequently, small pieces of fabric left over from other sewing projects are sewn together in a decorative pattern to created a quilt top. This is both a challenging and effective way to add beauty to one’s home. Less economical, and therefore often considered more valuable and reserved for special occasions, are appliqué quilts which require layers of fabric to create the design. Appliqué patterns are frequently inspired by floral imagery and many fanciful names are used to describe individual designs.","Yellow background; leaf-like applique border in green; 4 large appliqued floral medallions in green, maroon, pink and yellow; tan and red vine print backing","",,"Gift of Gail Martin","98.274.2","","Artist",,,"","Arts of the Americas","Public Domain","valid",3721,4060,0,"1",0,,,"[""""]","media",0.13473956,,,,,,,,,,,,,,,,,,,,,,, "43490","At the Middle of Life","Open bite etching, Xerox transfer, and woodcut on Japan paper"," Prints","18 x 24 in. (45.72 x 60.96 cm) (image, sheet)","Print","Europe","Germany",,"1994","Not on View","20th century","Inscribed in pencil, verso: 694 (may be a date or inventory number)","Signed in pencil, verso: L. Schwarz","","German-born artist Linda Schwarz frequently uses language as symbolic signifiers of historical themes from art, poetry, and literature. In this mixed media print, she evokes the memory of the celebrated German poet and philosopher Friedrich Hölderlin (1770-1843). Here, Schwarz selected text fragments from Hölderlin's 1805 poem ""Hälfte des Lebens,"" printing them in various sizes, colors, and typefaces on both sides of a semi-translucent sheet of paper. Many of the words and phrases can be read, while others are indecipherable. The poem's theme is bittersweet, recalling the joys of summer that lead to brooding on inevitable winter. Hölderlin's life was divided into two equal halves: the 36 years from 1770 to 1806, during which he became one of Germany's great lyric poets, and the 36 years from 1807 to 1843, when he suffered a mental breakdown.","","The artist, Minneapolis and Germany; sold to MIA, 1994.",,"Gift of funds from the Print and Drawing Council","P.94.18","Artist: Linda Schwarz; Publisher: Linda Schwarz","Artist","German","German, born 1963","%C2%A9 Linda Schwarz","European Art","In Copyright","valid",4185,3094,1,"1",1,,,"[""""]","media",0.13473956,true,,,,,,,,,,,,,,,,,,,,,, "19611","Figura","Collage of torn paper and map fragments, with black ink and gouache on paper"," Collages / Assemblages; Works on Paper","30 7/8 x 22 in. (78.4 x 55.9cm)","Collage with drawing","North America","Mexico",,"1969","Not on View","20th century","Titled, dated in black ink, LL verso: Figura 1969","Signed in black ink, LC: E. Ortiz","","Emilo Ortiz belonged to the Breakaway Generation (Generación de la Ruptura) of Mexican artists who during the 1950s and ’60s resisted the social themes and revolutionary ideals of the still-dominant Mexican muralism movement. Instead, Ortiz, along with such artists as Arnold Belkin (1930–1992) and Francisco Toledo (1940–2019) promoted a multicultural aesthetic in dialogue with global contemporary art. Ortiz’s interest in film, psychoanalytic theories, surrealism, and Mexican folk art informed his otherworldly scenes inhabited by fantastic figures rich in symbolism. In the mixed media work Figura, Ortiz blended fluid line, organic forms, and expressive use of color (here as collaged map fragments) to dramatic effect. Set against an undefined, deep black background, the segmented humanlike figure is reminiscent of a marionette, a wooden puppet whose movement is controlled by strings manipulated from above.","","The artist, Mexico City; sold to MIA, 1971.",,"The William Hood Dunwoody Fund, by exchange","71.16","Artist: Emilio Ortiz","Artist","Mexican","Mexican, 1936 - 1987","%C2%A9 Estate Emilio Ortiz","Arts of the Americas","In Copyright","valid",3033,4472,1,"1",1,,,"[""""]","media",0.13473956,,,,,,,,,,,,,,,,,true,,,,,, "107999","Leningrad Circus","Gouache and watercolor"," Drawings","40 1/8 x 60 1/8 in. (101.92 x 152.72 cm) (sheet) 44 3/4 x 65 in. (113.67 x 165.1 cm) (outer frame)","Drawing","North America","United States",,"1990","Not on View","20th century","Signature and Date","Signed, dated LRC, in black: [Red Grooms \'90]","","Charles ""Red"" Grooms is a contemporary American artist best known for his large-scale mixed-media, self-named ""sculpto-pictoramas,"" and installations depicting dynamic scenes of modern urban life populated with an array of colorful characters. Much of his work chronicles American life with a comic style that is characterized by wit, humor, and appreciation of human nature. In addition to his images of American culture, Grooms has produced several series inspired by his travels abroad, including trips to Japan, Morocco, and Russia. Such work is informed by the artist's memories, interactions with other cultures, and thoughts on globalization. Leningrad Circus is part of a group of works based on his trip to Russia in May 1989 and is an excellent example of Grooms' intense compositions and bright, bold color palettes.","wild scene in a green, yellow and orange circus ring; woman with long blonde hair holding a whip and flaming bar with a male acrobat jumping over it onto the back of a running blue horse; man standing on running brown horse at left, juggling swords; another man at back riding sideways on a grey horse; tightrope walkers, ULC; clown balancing a plate on top of pole on his nose at left; dancing bear behind clown","The artist; (Marlborough Gallery, New York, 1990); Donna and Cargill MacMillan, Jr., Wayzata, Minn. (1990-2010; given to MIA)","From ","Gift of Donna and Cargill MacMillan Jr.","2010.58.4","Artist: Red Grooms","Artist","American","American, born 1937","%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",6322,4265,1,"1",1,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "115603","Study for Colossal Monument: Fagends (in Hyde Park)","Watercolor and black crayon on paper"," Drawings; Works on Paper","14 15/16 x 22 in. (37.94 x 55.88 cm) (sheet) 22 7/8 × 28 7/8 in. (58.1 × 73.34 cm) (outer frame)","Drawing","North America","United States",,"1966","Not on View","20th century","Inscribed in black crayon, LLC: Butts","Signed and dated in black crayon, LRC: CO 66","on backing board: three exhibition labels, one dealer\'s label and one hand-written label","This is one of several studies Claes Oldenburg made for “colossal” monuments he envisioned for central London, beginning in 1966. Long fascinated with ordinary objects as subjects for his sculpture and installations, Oldenburg proposed various large-scale public sculptures featuring lipsticks, a drill bit, a knife, a gearstick, a typewriter, and fag ends (English slang for cigarette butts). None was ever built. He said he got the idea for a Fagends sculpture after seeing an antismoking poster in the streets of London. Captivated by the poster’s beautiful image of ordinary cigarette butts, Oldenburg thought the subject was an ideal, though provocative, choice for a public art project. Oldenburg liked placing objects in outdoor settings, merging the scale of still life with that of landscape. Ordinary objects treated in this way would become one of his major themes during the 1960s and 1970s, recurring in his work across media.","six cigarette butts arranged on a green landscape; patches of blue color in sky and red-orange color in the landscape and sky","[Gordon Locksley Gallery, Minneapolis; sold to Butler]; Sandra and Peter Butler, St. Paul (by May 1971-2012); given to MIA, 2012.","From ","Gift of Sandra and Peter Butler","2012.80.1","Artist: Claes Oldenburg","Artist","American (born Sweden)","American (born Sweden), 1929 - 2022","%C2%A9 Claes Oldenburg","Arts of the Americas","In Copyright–Educational Use","valid",8755,5988,0,"1",1,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "95641","Mott #3","Gouache on paper"," Drawings","22 3/16 x 29 5/8 in. (56.3 x 75.3 cm) (sheet) 24 3/16 × 31 11/16 × 2 in. (61.44 × 80.49 × 5.08 cm) (outer frame)","Drawing","North America","United States",,"1959","Not on View","20th century","Signature","LLC, in gray gouache: [Philip Guston]","","When executing this bold gouache in his Abstract Expressionist phase, the New York school artist Philip Guston seemed intent on disguising his mastery of traditional draftsmanship and the formative influence Italian Renaissance painting had on him. (This, however, might partly explain the artist’s surprising return to figurative art in 1970.) Mott #3 is part of a series of small-scale gouaches and oils from 1958–59 in which Guston explored new ideas on abstraction. The speed and directness of graphic media meant he could work out solutions without the investment of time and materials required for large oil paintings, and the reduced scale was conducive to experimentation. The arrangement of irregular shapes of dense, loosely painted color and Guston’s vigorous brushwork suggest urgency. The blocklike shapes pulse and press inward on one another, generating an almost palpable energy.","abstract image with blocks of thick pigment; yellow, blue, green, red, black","'(Sidney Janis Gallery, New York). Donald and Elizabeth Martin Winston, Los Angeles (by 1960-1976); their daughter, Elizabeth Winston Wyman, and James Thomas Wyman, Wayzata, Minn. (until 2004; given to MIA).","From ","Gift of Mr. and Mrs. James T. Wyman","2004.220.3","Artist: Philip Guston","Artist","American (born Canada)","American (born Canada), 1913 - 1980","%C2%A9 The Estate of Philip Guston Courtesy the Estate and Hauser %26 Wirth","Arts of the Americas","In Copyright–Educational Use","valid",9852,7379,0,"1",1,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "119409","Barrel Up","Acrylic paint and color screenprint on paper"," Drawings; Works on Paper","36 × 52 in. (91.44 × 132.08 cm) 39 1/2 × 55 × 2 1/4 in. (100.33 × 139.7 × 5.72 cm) (outer frame)","Drawing","North America","United States",,"1990","Not on View","20th century","","Signed and dated in pencil, LL: RAUSCHENBERG 90","","True to Robert Rauschenberg’s longstanding interest in blending disparate elements within a single composition, this mixed media work incorporates a printed photographic image of an industrial scene overlaid with both printed and hand-painted passages of abstract forms. The seemingly enigmatic scene features various mechanical devices, including a thick hose or pipe and two metal drums or tanks (the reference to “barrel” in the title) being hoisted onto a barge or pier near a body of water. Though the imagery is puzzling, the scene may suggest the clean-up of waterways from the effects of man-made pollution, one of the many social concerns of the artist. That said, and as Rauschenberg himself noted, the meaning of his work is left to the viewer, who must draw on their own memories and associations to extract personally meaningful connotations.","image of two oil barrels suspended amid a jumble of hoses and branches printed in the LR portion of paper in navy blue ink; vertical and horizontal linear forms printed over the top with salmon colored ink; cobalt blue and white brush strokes (acrylic paint) over top; white space to L","(Hollis Taggart Gallery, New York); Mary and Robert Mersky, Minnepolis; given to MIA, 2015","From ","Gift of Mary and Bob Mersky in celebration of the 100th anniversary of the Minneapolis Institute of Art","2015.120.3","Artist: Robert Rauschenberg","Artist","American","American, 1925–2008","Robert Rauschenberg%2C Barrel Up%2C 1990 %C2%A9 Robert Rauschenberg Foundation","Arts of the Americas","In Copyright–Educational Use","valid",9735,6749,0,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "128977","Untitled","Black crayon on paper"," Drawings","24 1/2 × 34 1/2 in. (62.23 × 87.63 cm) (sheet)","Drawing","Europe","Norway",,"1978","Not on View","20th century","on back, in pencil: JGt 1279","LLC, in pencil: Groth | 1978","","Jan Groth is best known as a maker of tapestries with abstract designs that explore the relationship between form and field, line and picture plane. But he also works in other media, including crayon drawings and metal sculpture. Groth has said that his work is about “the balance between almost something and almost nothing.” The present drawing, a quick crayon scrawl on paper, literally embodies that philosophy. Though his drawings are closely connected to his tapestries, in many ways the two are the antithesis of one another. In 1968, his weaving practice switched from white backgrounds to black. The drawings retain a black-on-white sensibility. His weaving is laborious and performed as a collaborative process. The drawings are quickly made as a solo act. The tapestries are as monumental as the drawings are intimate. As such, Groth’s drawings present a whole other side to his creativity.","white sheet of paper with black linear drawing; two thin lines begin at bottom center of sheet, and move upwards toward center, thickening at the top; left line has single line extending out from the side at the top, moving downwards to the left; right line has two lines extending off at the top, moving downwards on both right and left side","A gift from the artist Jan Groth (Oslo Norway, b. 1938) to Mia, 2018","From ","Gift of the artist, courtesy of Gallery Riis, Oslo","2018.95.2","Artist: Jan Groth","Artist","Norwegian","Norwegian, born 1938","%C2%A9 Jan Groth","European Art","In Copyright","valid",8904,6337,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "128975","Untitled","Black crayon on paper"," Drawings","24 9/16 × 34 7/8 in. (62.39 × 88.58 cm) (sheet)","Drawing","Europe","Norway",,"1980","Not on View","20th century","LRC, in pencil: til Mine fra Jan | on back, LLC in pencil: JGt 1321","LLC, in pencil: Groth | 1980","","Jan Groth is best known as a maker of tapestries with abstract designs that explore the relationship between form and field, line and picture plane. But he also works in other media, including crayon drawings and metal sculpture. Groth has said that his work is about “the balance between almost something and almost nothing.” The present drawing, a quick crayon scrawl on paper, literally embodies that philosophy. Though his drawings are closely connected to his tapestries, in many ways the two are the antithesis of one another. In 1968, his weaving practice switched from white backgrounds to black. The drawings retain a black-on-white sensibility. His weaving is laborious and performed as a collaborative process. The drawings are quickly made as a solo act. The tapestries are as monumental as the drawings are intimate. As such, Groth’s drawings present a whole other side to his creativity.","off-white sheet with single line-drawn image in bottom center; long, thin looped shape with curving parallel line attached, forming a simple, abstract hill, rendered in black crayon; lines are simple and thin, with top looping shape darkened with thicker black lines in center","A gift from the artist Jan Groth (Oslo Norway, b. 1938) to Mia, 2018","From ","Gift of the artist, courtesy of Gallery Riis, Oslo","2018.95.1","Artist: Jan Groth","Artist","Norwegian","Norwegian, born 1938","%C2%A9 Jan Groth","European Art","In Copyright","valid",8864,6330,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "140002","Miscegenated Family Album (Sisters III), L: Nefertiti's daughter, Maketaten; R: Devonia's daughter, Kimberley","Cibachrome prints"," Photographs","19 × 12 3/4 in. (48.3 × 32.4 cm) (sight, each) 20 × 16 in. (50.8 × 40.6 cm) (object part, sheet, each) 27 1/2 × 38 × 1 5/8 in. (69.9 × 96.5 × 4.1 cm) (outer frame)","Diptych photographs","North America","United States",,"1980/1994","Not on View","20th century","","","","Drawn from her broader series titled “Miscegenated Family Album,” a project consisting of 16 diptychs in total, these four diptychs present a set of contrasts across time and media. Lorraine O’Grady’s “Sisters” makes a concise visual and intellectual case for Black self-identification across historical and geographical boundaries, elegantly elucidating the concept of Diasporic identity in discrete pairings. Through the juxtaposition of four ancient Egyptian busts (of female royalty) with re-photographed portraits of female members of O’Grady’s own 20th century American family (and herself), the artist imagines a case for the aristocratic lineage of the latter. Wordlessly inferring—and thereby conferring—the magisterial power of Nefertiti, her daughters, and her sister unto her own sister Devonia, her nieces, and herself, O’Grady collapses time to elevate the present.","two black and white photographs matted and framed together; a (left) = ancient Egyptian sculpted portrait of a woman, seen from PL side--top of head not represented; b (right) = close-up portrait of dark-haired young woman with a serious expression, seen from PL side","","From ","The Milton K. and Margie M. Woodhouse Endowment for Art Acquisition","2021.21.3a,b","Artist: Lorraine O'Grady","Artist","American","American, born 1934","","Arts of the Americas","In Copyright","valid",9195,6651,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "140003","Miscegenated Family Album (Sisters IV), L: Devonia's sister, Lorraine; R: Nefertiti's sister, Mutnedjmet","Cibachrome prints"," Photographs","19 × 12 3/4 in. (48.3 × 32.4 cm) (sight, each) 20 × 16 in. (50.8 × 40.6 cm) (object part, sheet, each) 27 5/8 × 38 × 1 5/8 in. (70.2 × 96.5 × 4.1 cm) (outer frame)","Diptych photographs","North America","United States",,"1980/1994","Not on View","20th century","","","","Drawn from her broader series titled “Miscegenated Family Album,” a project consisting of 16 diptychs in total, these four diptychs present a set of contrasts across time and media. Lorraine O’Grady’s “Sisters” makes a concise visual and intellectual case for Black self-identification across historical and geographical boundaries, elegantly elucidating the concept of Diasporic identity in discrete pairings. Through the juxtaposition of four ancient Egyptian busts (of female royalty) with re-photographed portraits of female members of O’Grady’s own 20th century American family (and herself), the artist imagines a case for the aristocratic lineage of the latter. Wordlessly inferring—and thereby conferring—the magisterial power of Nefertiti, her daughters, and her sister unto her own sister Devonia, her nieces, and herself, O’Grady collapses time to elevate the present.","two black and white photographs matted and framed together; a (left) = portrait of young woman with her hair pulled back, turned slightly toward her left, wearing an arc-form earring and a V necked black garment; b (right) = ancient Egyptian sculpted portrait of a woman with a slight smile","","From ","The Sharon and Bill Richardson Endowment for Art Acquisition and the Larey E. Lindberg and Larey Swanson Endowment for Art Acquisition","2021.21.4a,b","Artist: Lorraine O'Grady","Artist","American","American, born 1934","","Arts of the Americas","In Copyright","valid",9143,6616,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "140000","Miscegenated Family Album (Sisters I), L: Nefernefruaten Nefertiti; R: Dovonia Evangeline O'Grady","Cibachrome prints"," Photographs","19 × 12 3/4 in. (48.3 × 32.4 cm) (sight, each) 20 × 16 in. (50.8 × 40.6 cm) (object part, sheet, each) 27 1/2 × 38 × 1 5/8 in. (69.9 × 96.5 × 4.1 cm) (outer frame)","Diptych photographs","North America","United States",,"1980/1994","Not on View","20th century","","","","Drawn from her broader series titled “Miscegenated Family Album,” a project consisting of 16 diptychs in total, these four diptychs present a set of contrasts across time and media. Lorraine O’Grady’s “Sisters” makes a concise visual and intellectual case for Black self-identification across historical and geographical boundaries, elegantly elucidating the concept of Diasporic identity in discrete pairings. Through the juxtaposition of four ancient Egyptian busts (of female royalty) with re-photographed portraits of female members of O’Grady’s own 20th century American family (and herself), the artist imagines a case for the aristocratic lineage of the latter. Wordlessly inferring—and thereby conferring—the magisterial power of Nefertiti, her daughters, and her sister unto her own sister Devonia, her nieces, and herself, O’Grady collapses time to elevate the present.","two black and white photographs matted and framed together; a (left) = ancient Egyptian polychrome sculpted portrait of a woman wearing a headdress and a wide necklace, turned slightly to her PL; b (right) = portrait of a woman with shoulder-length dark hair wearing a bridal veil and pearls, looking toward her PL","","From ","The Kenneth and Elayne Hengler Endowment for Art Acquisition","2021.21.1a,b","Artist: Lorraine O'Grady","Artist","American","American, born 1934","","Arts of the Americas","In Copyright","valid",9143,6616,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "140001","Miscegenated Family Album (Sisters II), L: Nefertiti's daughter Merytaten; R: Devonia's daughter","Cibachrome prints"," Photographs","19 × 12 3/4 in. (48.3 × 32.4 cm) (sight, each) 20 × 16 in. (50.8 × 40.6 cm) (object part, sheet, each) 27 1/2 × 38 × 1 5/8 in. (69.9 × 96.5 × 4.1 cm) (outer frame)","Diptych photographs","North America","United States",,"1980/1994","Not on View","20th century","","","","Drawn from her broader series titled “Miscegenated Family Album,” a project consisting of 16 diptychs in total, these four diptychs present a set of contrasts across time and media. Lorraine O’Grady’s “Sisters” makes a concise visual and intellectual case for Black self-identification across historical and geographical boundaries, elegantly elucidating the concept of Diasporic identity in discrete pairings. Through the juxtaposition of four ancient Egyptian busts (of female royalty) with re-photographed portraits of female members of O’Grady’s own 20th century American family (and herself), the artist imagines a case for the aristocratic lineage of the latter. Wordlessly inferring—and thereby conferring—the magisterial power of Nefertiti, her daughters, and her sister unto her own sister Devonia, her nieces, and herself, O’Grady collapses time to elevate the present.","two black and white photographs matted and framed together; a (left) = ancient Egyptian sculpted portrait of a woman, seen slightly turned, with hair in braids with bangs, and wearing a wide necklace; b (right) = slightly blurry portrait of a woman slightly smiling, with her eyes looking toward PL","","From ","The James Ford Bell Endowment for Art Acquisition","2021.21.2a,b","Artist: Lorraine O'Grady","Artist","American","American, born 1934","","Arts of the Americas","In Copyright","valid",9195,6660,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "127065","Interior of a Rajawar tribal house, Madhya Pradesh","Gelatin silver print"," Photographs","12 9/16 × 8 1/4 in. (31.91 × 20.96 cm) (image) 13 3/4 × 9 1/2 in. (34.93 × 24.13 cm) (sheet)","Photograph","Asia","India",,"1983","Not on View","20th century","on back in black ink: PHY.00898 | on back in black and blue ink: JYOTI BHATT / 7-CHAROTAR SOC. / OLD PADRA ROAD / VADODARA 390020","on back in black ink: Jyoti Bhatt | on back in blue ink: A corner of a Village House - M.P. 1983","","For over thirty years Jyoti Byatt has been documenting the landscape and people of rural India through various art media, including painting, print, and photography. In his art, he has archived the people, objects, and folk art of many regions including Gujarat, Rajasthan, Haryana, Madhya Pradesh, Orissa, West Bengal and Bihar. As eloquently shown in his photography, Bhatt embraces the solitary traditions of rural India through worldly lens of art history, demonstrating the influences of early Spanish and Italian art, as well as Cubism in his composition. His compositions emphasize the tactile and visual qualities of the landscape or building interiors while featuring the folk art traditions that are rapidly disappearing through modernization. Bhatt’s photographs capture a sense of urgency while avoiding an objectifying frame. His subjects are simultaneously aware of the camera and comfortable within its context—in some instances addressing the camera directly.","resting cow laying on straw, with its head pulled back toward PL, near a corner; walls decorated with panels with painterly triangular shapes in rectangles, with zigzag lines above and between; round holes in wall above cow","","From ","The Marilyn C. Benson Endowment for Art Acquisition","2017.56.1","Photographer: Jyoti Bhatt","Artist","Indian","Indian, born 1934","Copyright %C2%A9 Jyoti Bhatt","Asian Art","In Copyright","valid",2672,4052,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "127064","Kutch","Gelatin silver print"," Photographs","11 1/8 × 7 1/2 in. (28.26 × 19.05 cm) (image) 11 1/2 × 7 13/16 in. (29.21 × 19.84 cm) (sheet)","Photograph","Asia","India",,"1980-1981","Not on View","20th century","at top edge on back in black ink: REF: SK-177-3/5-(1980) | URC on back in pencil: PHY.03403","LRQ on back in black ink: Kutch. 1980/81 / Jyoti Bhatt","","For over thirty years Jyoti Byatt has been documenting the landscape and people of rural India through various art media, including painting, print, and photography. In his art, he has archived the people, objects, and folk art of many regions including Gujarat, Rajasthan, Haryana, Madhya Pradesh, Orissa, West Bengal and Bihar. As eloquently shown in his photography, Bhatt embraces the solitary traditions of rural India through worldly lens of art history, demonstrating the influences of early Spanish and Italian art, as well as Cubism in his composition. His compositions emphasize the tactile and visual qualities of the landscape or building interiors while featuring the folk art traditions that are rapidly disappearing through modernization. Bhatt’s photographs capture a sense of urgency while avoiding an objectifying frame. His subjects are simultaneously aware of the camera and comfortable within its context—in some instances addressing the camera directly.","two images superimposed on each other; walking black cow at top, URQ; seated woman with PL knee drawn up, holding her bare feet with her hands; woman is wearing traditional Indian dress with two nose rings, large round earrings, necklace, head scarf, flowered garments with mirrors, toe rings and many bracelets on her upper and lower arms","","From ","The Marilyn C. Benson Endowmetn for Art Acquisition","2017.56.3","Photographer: Jyoti Bhatt","Artist","Indian","Indian, born 1934","Copyright %C2%A9 Jyoti Bhatt","Asian Art","In Copyright","valid",2375,3570,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "111978","Morices","Glazed ceramic, plywood, particle board, and wood"," Sculpture",,"Sculpture","North America","United States",,"2007","Not on View","21st century","","On bottom of each ceramic piece and on one leg of stools, in black: Tetsuya Yamada / 2007","Numbered in black on top of each base section and on bottom of each ceramic piece.","Tetsuya Yamada was trained in Japanese ceramics and has a deep comprehension of Western art. His Morices are part of an elegant and formal trajectory in that history, which links them to the innovations of early modern masters of both sculpture and conceptual art. A prominent and well-established artist living in Minnesota, Yamada is inventive by nature and constantly stretches the limits of his media to create pieces of rare intellect and ingenuity. In addition to their art-historical pedigree, they are remarkably compelling works in their own right. Standing at almost human scale, each object has a distinct, individual character. Their pure and polished white ceramic ""bodies"" represent a purity of form and spirit. When they appear as a group, their power is compounded. As if they were made to be together, they take on a fascinating aura as if guarding some secret history or memory.","group of seven sculptures, each consisting of a wooden base section and top white ceramic section; top sections are white, roughly bowling pin-shaped, some with spouts on the bottom, one perforated, some with geometric elements; bases are wood--four bases are constructions of laminated particle board and plywood, three are stools of two heights topped with particle board and plywood elements; see Components for individual descriptions","","From ","The Dolly J. Fiterman Fund","2011.33a-n","Artist: Yamada Tetsuya","Artist","Japanese (active U.S.)","Japanese (active U.S.), born 1968","%C2%A9 2007 Tetsuya Yamada","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",5073,5970,0,"1",1,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,true,,,,, "132270","Pergusa Three","Color relief-printed etching and woodcut on hand-dyed paper"," Prints","66 3/8 × 51 1/2 in. (168.59 × 130.81 cm) (sheet) 71 1/2 × 58 1/4 × 3 in. (181.61 × 147.96 × 7.62 cm) (outer frame)","Print","North America","United States",,"1983","Not on View","20th century","","LRC in pencil: F. Stella 83","LRC in pencil: 12/30","Frank Stella’s Pergusa Three, was the result of a close collaboration with master printer Kenneth Tyler (born 1931), founder of the renowned American print workshop Tyler Graphics. Produced in 1983, this editioned work is part of a series of 16 large-scale, mixed media prints called “Circuits,” which were inspired by Stella’s longstanding interest in auto racing. Each print in the series is named for an international race track that Stella had visited in the 1970s. Pergusa Three references the Autodromo di Pergusa, an automobile and motorcycle circuit that encircles Pergusa Lake in Sicily, Italy. For this print, Stella created a complex amalgam of geometric forms, brilliant color, contrasting tones, and textured surfaces, whose exuberant and rhythmic dynamic was intended to mirror the excitement and spectacle of auto racing itself.","abstract image; black ground; wide red curving lines bordered in multicolored lines; lacy elements around curves; forms filled with white chalk-like coloring; multicolored lines over curving forms; top and bottom borders are yellow and red; left and right borders are mottled multicolors","Private collection; [Jonathan Novak Contemporary Art, Los Angeles, sold to Mersky, 12/10/03]; Robert B. Mersky, Minneapolis; given to MIA, 2019.","From Circuits series, 1982-84","Gift of Mary and Bob Mersky","2019.73.8","Artist: Frank Stella; Printer: Tyler Graphics, Ltd., Mount Kisco, New York; Publisher: Tyler Graphics, Ltd., Mount Kisco, New York","Artist","American","American, born 1936","%C2%A9 Frank Stella %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",6968,8894,1,"1",1,"Walker Art Center (1987), 605; TGL 1984; Axsom 143",,"[""""]","media",0.13418894,,,,,,,true,,,,,,,true,,,,,,,,, "108795","Metamorphosis","Buckeye burl"," Woodwork","14 1/2 x 20 1/2 x 20 1/2 in. (36.83 x 52.07 x 52.07 cm)","Sculpture","North America","United States",,"c. 1989","Not on View","20th century","","Bottom, in black: Ron Fleming / \'Metamorphosis\'","Sticker, on bottom: Property of Peter / Daniel & Rachel Lipton / & Candy & Joshua Kopel","Although he began his professional career as an illustrator and designer, Ron Fleming's childhood experiences of working with wood alongside his grandfather and father encouraged his return to the medium as an adult. Describing the profound way in which wood affected his creativity, Fleming states, ""I felt like I had finally found a media that I could work in and let my creative juices flow. No parameters--just my imagination."" Fleming, known for his carving skills, demonstrates his abilities by transforming a humble specimen of buckeye burl, an irregular growth with inherent cracks and openings, into an exceptionally large and yet graceful vessel that incorporates those imperfections. Metamorphosis references Fleming's transformation of the burl through the articulated leaves at the vessel's rim, as well as the swirling honey and dark brown shades of the wood, which seem agitated and in the process of shifting and changing.","turned and carved; large rounded bowl form with slightly concave foot; top edge carved into leaf-like forms; tan and grey mottled colors; inherent irregular holes","","From ","Gift of the collection of Mari and Irving Lipton","2009.74.10","Artist: Ronald Fleming","Artist","American","American, born 1937","%C2%A9 Ronald Fleming","Arts of the Americas","In Copyright","valid",5436,4080,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "137912","Lingering Still","Spit-bite etching"," Prints","23 5/8 × 34 13/16 in. (60.01 × 88.42 cm) (image) 23 15/16 × 34 15/16 in. (60.8 × 88.74 cm) (plate) 30 7/16 × 41 1/4 × 2 1/4 in. (77.31 × 104.78 × 5.72 cm) (outer frame)","Print","North America","United States",,"2019","Not on View","21st century","Inscribed in pencil, bottom center: \""LINGERING STILL\""","LRC, in pencil: Mike Marks 2019","Numbered in pencil, LLC: 1/3","Minneapolis-based artist Michael Marks explores the fragility and resilience of nature in his work. Lingering Still is inspired by the landscape around the Vermillion River in southwestern Minnesota and the prairie reclamation sites there, which, for Marks, exhibit ""beauty mingled with distress."" His prints across media—lithography, woodcuts, intaglio prints—use a subtractive mark-making print process, which the artist writes, “parallels the potential for irreversible loss in the environment.” Here employing spit-bite etching, an intaglio technique, he creates the dark passages of the river landscape and then applies a stopping out varnish to the plate to represent the wiry prairie grasses, left in reserve, thus the white color of the paper. The hardy, dense vegetation, shown growing wildly and expansively across the river valley, despite pollution and agricultural runoff, becomes in Marks' hand a thing of beauty, representing nature’s enduring strength.","black-and-white landscape; blades of tall grass and plants in foreground, sloping from R edge and L edge toward center; hazy gradated background; shaded formation in ULC","The artist, Minneapolis; sold to MIA, 2020.",,"Gift of funds from the Paul and Sheila Steiner Charitable Trust","2020.67","Artist: Michael Marks","Artist","American","American, born 1984","","Prints and Drawings","In Copyright","valid",8128,5673,1,"1",1,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "137813","Transitional Space 9","Oil and acrylic on glazed paper"," Paintings; Works on Paper","9 7/8 × 13 in. (25.08 × 33.02 cm) (sheet) 13 1/8 × 16 1/8 × 1 1/2 in. (33.34 × 40.96 × 3.81 cm) (outer frame)","Painting on paper","North America","United States",,"1969","Not on View","20th century","","LRC, in pencil: J Whitten \'69","Gallery label, verso: Hauser & Wirth, New York","Jack Whitten created this dramatically gestural mixed media drawing in 1969 as part of a series of abstractions he called ""Transitional Space,"" which is almost certainly a reference to the philosophical concept of the experiential dimension between the inner world of self and outer world of daily life. It is this “in-between space” where, according to sociologist Laura Praglin, “one finds the most authentic and creative aspects of our personal and communal existence, including artistic, scientific, and religious expression.” An avid reader of science and philosophy, Whitten frequently inserted metaphorical and conceptual references in his work as a means of signifying meaning and shaping the astute viewer’s experience. In exploring this meeting ground of potentiality and authenticity, Whitten also signals his own creative transition from the improvisational gestural abstraction of his early painting practice to his embrace of a highly distinctive brand of abstraction that stressed process, material, technique, and conceptual complexity.","Abstract image in multi-colored pigments; horizontal streak of blue across top edge; horizontal streak of orange that moves diagonally upwards to LRQ, and again moves back across bottom edge; spots of washy green; blobs of impasto at bottom C and in L","The artist, New York; Estate of the artist, New York; [Hauser & Wirth, New York]; sold to MIA, 2020.","From ""Transitional Space"" series","Gift of funds from Mary and Bob Mersky","2020.63","Artist: Jack Whitten","Artist","American","American, 1939–2018","","Arts of the Americas","In Copyright","valid",6957,5350,1,"1",0,,,"[""""]","media",0.13418894,,,,true,true,,true,,,,,,,,,,,,,,,, "127063","Venice","Gelatin silver print"," Photographs","11 1/8 × 8 5/16 in. (28.26 × 21.11 cm) (image) 11 1/2 × 8 5/8 in. (29.21 × 21.91 cm) (sheet)","Photograph","Asia","India",,"1966","Not on View","20th century","URC on back in pencil: PHY. 03399 | LLC on back in black ink: scanned","ULC on back in black: Jyoti Bhatt / Venice . 1966 .","LRC on back stamped in black: COPY-RIGHT PHOTOGRAPH / © JYOTI BHATT / 2-ADHYAPAK NIWAS / BARODA 390 002 INDIA / REF.","For over thirty years Jyoti Byatt has been documenting the landscape and people of rural India through various art media, including painting, print, and photography. In his art, he has archived the people, objects, and folk art of many regions including Gujarat, Rajasthan, Haryana, Madhya Pradesh, Orissa, West Bengal and Bihar. As eloquently shown in his photography, Bhatt embraces the solitary traditions of rural India through worldly lens of art history, demonstrating the influences of early Spanish and Italian art, as well as Cubism in his composition. His compositions emphasize the tactile and visual qualities of the landscape or building interiors while featuring the folk art traditions that are rapidly disappearing through modernization. Bhatt’s photographs capture a sense of urgency while avoiding an objectifying frame. His subjects are simultaneously aware of the camera and comfortable within its context—in some instances addressing the camera directly.","rectangular fragments of portions of same image in three horizontal bands; top center and right images include head of a woman with dark hair; central images include torso and upper legs of a figure wearing a mottled grey and white coat, white shirt and dark pants; two images at bottom include lower long skirt on a figure","",,"The Joan and Gary Capen Endowment for Art Acquisition","2017.56.2","Photographer: Jyoti Bhatt","Artist","Indian","Indian, born 1934","Copyright %C2%A9 Jyoti Bhatt","Asian Art","In Copyright","valid",2614,3554,1,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "31405","Hot water urn from the ""Cosmos"" coffee and tea service","Silver and ebony"," Metalwork","13 1/2 x 8 1/8 x 8 5/8 in. (34.3 x 20.6 x 21.9 cm)",,"Europe","Denmark",,"1954 (designed c. 1915)","Not on View","20th century","Stamp; Inscription","","on base of pot and burner inside: [DESSIN][J]/[R] [DENMARK] oval [GEORG JENSEN]/[45]; at edge of base on urn: [TO MOTHER AND DAD FROM TED, NANCY, CHARLIE AND GINNIE/JUNE 25, 1954]","""Cosmos,"" a line of servingware designed around 1915, is widely recognized as an icon of 20th century Scandinavian design. Rohde, an artist and designer who worked in many media, designed the line for Georg Jensen, the famous Danish silversmith who had opened his own workshop in 1904. Rohde and Jensen's collaboration began in 1906 and continued until 1935, the year of their deaths. Rohde's design synthesizes classical motifs, like the fluting on the lower portion of the urn, with modern touches, like the stark ebony handle and spherical form, resulting in a piece that is both elegant and modern. In 1929, Minneapolitans Frederick Weyerhaeuser III and his bride Margaret Gertrude Ludwig received seven pieces from the ""Cosmos"" line of servingware as a wedding present. Twenty-five years later, their children presented them with this hot water kettle on stand from the original line, still in production, in celebration of their silver wedding anniversary.","hot water urn; c-shaped handle at top, pair of studs at sides of pot for stand; stand has a ring base with a faceted band and beaded band; classical style supports on stand with Ionic capitols, flowers below with pineapple and scrolling bottom","",,"Gift of The Frederick and Margaret L. Weyerhaeuser Foundation","99.195.19.4a-d","Designer: Johan Rohde; Manufacturer: Georg Jensen, Copenhagen, Denmark","Artist","Danish","Danish, 1856-1935","","European Art","Copyright Undetermined","valid",4698,2994,0,"1",0,,,"[""""]","media",0.13418894,,,,,,,,,,,,,,,,,,,,,,, "121046","Zombies Need Romance","Color monotype/inverse intaglio with hand-drawn additions in watercolor, ink, graphite and crayon"," Drawings; Prints; Works on Paper","44 × 30 1/8 in. (111.76 × 76.52 cm) (sheet)","Monotype with drawing","North America","United States","Kootenai Salish","2012","Not on View","21st century","Signature, Title, Date, Mark and Stamp","LRC in pencil: [(illegible signature) 2012]; on back above stamp in pencil: [\'ZOMBIES NEED ROMANCE\']","Blindstamp LRC: [(fox head)]; on back on stamp and in pencil: [NEAL AMBROSE-SMITH / www.INDIANSPACEPAINTERS.com / REZNDN@GMAIL.COM / NS12PR039]","Neal Ambrose-Smith’s mixed-media “mash-up” uses the familiar format of the movie poster to offer his own satirical spin on some of the more popular film genres of the day, from science fiction and Westerns to “rom-coms” and zombie films. Designed to be viewed through 3-D glasses, the illustrated poster advertises a fictional production, Even Zombies Need a Little Romance. Besides the famed starship Enterprise from the popular television and movie series, he includes a mid-20th-century “femme fatale” and a walking zombie, here cast as a faceless American Indian chief in feathered war bonnet. In Native American culture, the headdress is of great spiritual and political importance within the tribe, a sign of respect and honor earned through acts of bravery and selflessness. Seen here, it is little more than a movie prop, a reminder of how mainstream culture often demeans Native customs.","collage-like image with printed text at top including, ""EVEN ZOMBIES NEED A LITTLE ROMANCE"" in red; Starship Enterprise at center, with red and green elements that can be viewed with 3-D glasses; arm and hand in yellow in LRQ; part of a feathered Native American headdress, URC; head and shoulders of a cartoon woman wearing a low-cut yellow blouse at left below center; blue swirling forms in background","The artist, Albuquerque, N.M.; (Joe Zanatta Contemporary Art, Shawnee, Kansas); sold to MIA, 2015.","From ","The Richard Lewis Hillstrom Fund","2015.48.2","Artist: Neal Ambrose-Smith","Artist","American","American (Kootenai Salish), born 1966","%C2%A9 Neal Ambrose-Smith","Arts of the Americas","In Copyright","valid",8185,11908,1,"1",0,,,"[""""]","media",0.13363832,,true,,,,,,,,,,,,,,,,,,,,, "131339","Mexican Crucifix","Acrylic and printed paper collage on panel, in five parts"," Paintings; Collages / Assemblages","81 × 120 1/2 in. (205.7 × 306.1 cm) (overall)","Painting and collage","North America","United States",,"1987-88","Not on View","20th century","","Signed, titled, and dated: Mexican Crucifix 1987/88 David Wojnarowicz (verso, center panel)","","David Wojnarowicz’s work illuminates a desperate period of American history: the AIDS crisis and culture wars of the late 1980s and early 1990s. Mexican Crucifix was created during a short but transformative period in the artist’s personal and creative life. In January 1987, the artist had recently returned from Mexico. It was during this time Wojnarowicz also learned that his mentor, best friend, and ex-lover Peter Hujar had been diagnosed with AIDS. Between Coatlicue (the Aztec earth goddess) and Christ, Wojnarowicz painted a hurtling steam locomotive, northern Mexican mummies, and a crying child. Covered entirely in plastered Mexican pesos and news articles, this monumental work combines images of religious violence, capitalistic greed, and innovations in media and technology to examine the ways these elements work as one to control and corrupt both the individual and broader society.","five panels installed in cross shape; collaged elements with paper money and newspaper clippings throughout; a (center panel): train at top center; Day of the Dead skulls and baby in LLC; b (top panel): yellow ladder; c (right panel): Jesus on cross with insects; eyeball in the form of Earth; d (bottom center panel): bound feet by fire painted in black and white; e (right panel): elaborate totem sculpture against red ground","[P.P.O.W Gallery, New York, sold to private collector]; Private collection, until 2017; [Sale, Christie's, New York, lot 886, 11/16/17]. [P.P.O.W Gallery, New York]; sold to MIA, 2019.* *Ex coll Melva Bucksbaum per notation, verso (ownership period unknown).",,"The John R. Van Derlip Fund and gift of funds from Mary and Bob Mersky","2019.13a-e","Artist: David Wojnarowicz","Artist","American","American, 1954 - 1992","%C2%A9 The Estate of David Wojnarowicz %2F PPOW Gallery%2C New York","Global Contemporary Art","In Copyright","valid",14376,9842,1,"1",0,,,"[""""]","media",0.13363832,,,,,,,,,,,,,true,,,,,,,,,, "128422","Hat with Red Eyes","Collage of found materials and pigments on cardboard"," Collages / Assemblages","26 11/16 × 17 3/16 in. (67.79 × 43.66 cm) (sight) 27 15/16 × 17 15/16 × 1 5/16 in. (70.96 × 45.56 × 3.33 cm) (outer frame)","Collage","North America","United States",,"1966","Not on View","20th century","","bottom right center, in pencil: Ray Johnson 1966","Paper exhibtion and gallery labels on back of frame: Finch College Museum of Art, New York; The American Federation of Arts, New York; Richard Feigen Gallery, New York; and Museum of Modern Art Art Lending Services | Framer\'s mark stamped in ink, verso, left side: Bernard Walsh Framers","Once described as “New York’s most famous unknown artist,” Ray Johnson is today remembered as a leading figure of the Pop and Neo-Dada movements that emerged in the 1950s as critiques of popular culture and mass media. Johnson challenged artistic conventions with his innovative collages of found materials and collaboratively produced “mail art” that invited the participation of fellow artists through the U.S. mail. Hat with Red Eyes is an example of his work in collage, an homage to the radical modernist American poet Marianne Moore (1887–1972). The two innovators had briefly shared a correspondence, and, with characteristic wit and economy, Johnson used Moore’s iconic black tricorn hat as a symbol for the poet and her creative brilliance. The collage is one of several portrayals of Moore that Johnson completed during the 1960s.","Abstract portrait head composed of stacked shapes; large, gray square on bottom center positioned at an angle; two cut out squares with red circles in URC of each square, resembling eyes; tan smaller square on top of gray square with two yellow bands of color at top with red triangle at bottom center of lower band; black, wavy abstract shape at top; white background","The artist, New York; [Willard Gallery, New York, until 1967]. [Richard Feigen Gallery, New York, inv. no. 13745-D]; Private collection, Florida, sold by Estate or descendents; [Hill Auction Gallery, Sunrise, Fla., sale 11/29/17, lot 145, sold to Mersky]; Robert B. Mersky, Minneapolis; given to MIA, 2022.",,"Gift of Mary and Bob Mersky","2022.98.3","Artist: Ray Johnson","Artist","American","American, 1927 - 1995","%C2%A9 The Ray Johnson Estate %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",7023,10560,1,"1",0,,,"[""""]","media",0.13363832,,,,,,,,,,,,,,,,,,,,,,, "126132","Temple of Nettuno, Paestum, XVI","Gelatin silver print _+""Gelatin silver prints"," Photographs","95 × 126 × 2 7/8 in. (241.3 × 320.04 × 7.3 cm) (triptych, overall, approx.)","Triptych photographs","Europe","Germany",,"2015","Not on View","21st century","","","","Trained in sculpture and later in photography and related media, Vera Lutter has created large-scale pinhole photographs since the early 1990s. Her subjects are often architecture, landscape, cityscape, and communication and transportation infrastructures. With a deep interest in archaeology and classical architecture, Lutter, for the first time, photographed a Greek temple, and created Temple of Nettuno. Built in c. 460 – 450 BC, the temple is one of the best-preserved Greek architectures. Thus, Lutter identified Temple of Nettuno most suitable for a long exposure. To create a large-size unique print, she first sets up a room-sized camera obscura to capture black and white negative images. (Photographic paper is affixed to a wall inside of a camera obscura, opposite to a wall where an aperture is.) An image from outside is projected upside-down through an aperture and fixed on the photographic paper. As the work title indicates, she gave a full day exposure to create the work in a cloudless beautiful day.","negative image of classical building with thick fluted columns; fence with X shaped panels in foreground; each panel of tripych framed separately","","From ","The Alfred and Ingrid Lenz Harrison Purchase Fund","2017.12a-c","Photographer: Vera Lutter","Artist","German","German, born 1960","%C2%A9 Vera Lutter %2F Licensed by Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",9972,7529,1,"1",0,,,"[""""]","media",0.1293592,true,,,,,,,,,,,,,,,,,,,,,, "144593","The Redemption of Mankind","Silk and metallic embroidery on linen"," Textiles","73 3/4 × 29 7/8 × 1/2 in. (187.3 × 75.9 × 1.3 cm)","Textile panel","Europe","Scotland",,"c. 1887","Not on View","19th century","","PAT","","Phoebe Anna Traquair was born in Dublin, Ireland and moved to Edinburgh in 1873 where she built a flourishing career as an artist. Today she is recognized as the first professional woman artist of modern Scotland, and one of the first women admitted to the Scottish Royal Academy (1920). Traquair worked in a variety of media: embroidery, enamelwork, furniture decoration, easel painting, manuscript illumination, bookbinding, and mural decoration. The Redemption of Mankind is one of only twelve known embroideries designed and executed by Traquair. The subject of the proposed embroidery – Christian redemption – followed from themes developed in her first public mural project, the mortuary chapel of the Royal Hospital for Sick Children (1885-6). Traquair inked the embroidery design on the ground fabric and worked the stitches entirely on her own. All told, it took eighteen to twenty months to complete and overlapped with the painting of the Song School at St Mary’s Episcopal Cathedral, a project which carried forth the themes of redemption and salvation.","central round image of Mary, wearing a blue dress and red wrap, holding a standing infant Jesus, seated on a cow, with flowers at left, with door and flaming sword behind figures; pair of women crouching in archway at bottom, wrapping a shroud around a body; figures playing lute and pipes above archway at bottom; pair of figures with halos kneeling at top, wearing red and blue robes and wraps, with arms crossed over shoulders, flanking a tirptych with an angel with a scroll and an angel with a lute; feet extending from beneath clouds at top; received mounted on a stretcher","",,"The Walter C. and Mary C. Briggs Trust Fund","2023.26","Embroiderer: Phoebe Anna Traquair","Artist","British","British, 1852 - 1936","","European Art","Public Domain","valid",4341,10826,0,"1",0,,,"[""""]","media",0.1293592,,,,,,,,,,,,,,,,,,,,,,, "4420","Pivotal Motion from Chin, Medium","Gelatin silver print"," Photographs","14 7/8 x 18 3/4 in. (37.78 x 47.63 cm) (image) 15 7/8 x 19 13/16 in. (40.32 x 50.32 cm) (sheet)","Photograph","North America","United States",,"1974","Not on View","20th century","","","","","","","From ","Gift of Herbert and Paula Molner","92.19.1","Photographer: Blythe Bohnen","Artist","American","American, born 1940","%C2%A9 1974 Blythe Bohnen","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.1247443,,,,,,,,,,,,,,,,,,,,,,, "12509","Medal of the XI International Medical Congress, Rome","Bronze"," Metalwork; Commemorative Objects","1 1/16 x 1 5/8 x 1/8in. (2.7 x 4.1 x 0.3cm)","Medal","North America","United States",,"1894","Not on View","19th century","Signature; Inscription see Signed on reverse: [XI Congresso Medico Internazionale Roma MDCCCXCIV]","[A.C.Inc. Johnson]","","","Medallion (of the XI International Medical Congress), bronze, American XIXc cat. card dims H 1/8 x W 1-7/16 x L 1-5/8'","","From ","Gift of Mr and Mrs. E. Cohen","15.310","Maker: Alfred Cheney Johnston","Artist","American","American, 1885-1971","","Decorative Arts, Textiles and Sculpture","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.120889954,,,,,,,,,,,,,,,,,,,,,,, "74559","Mediocris Conditionis Sponsa, from Trachtenbuch","Woodcut, contemporary color"," Prints","10 3/4 x 6 1/2 in. (27.31 x 16.51 cm) (image)",,"Europe","Germany",,"1577","Not on View","16th century"," ",""," ","","Plate XXII","","From Trachtenbuch, (Nuremberg, 1577)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.14,311","Artist: Jost Amman; Cutter: Hans Weigel; Publisher: Hans Weigel","Artist","Swiss","Swiss, 1539 - 1591","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Colas 113 Lipperheide: Aa 14 (Weigel)",,"[""""]","media",0.120889954,,,,,,,,,,,,,,,,,,,,,,, "74567","Virgo Nobilis Medio, from Trachtenbuch","Woodcut, contemporary color"," Prints","10 3/4 x 6 1/2 in. (27.31 x 16.51 cm) (image)",,"Europe","Germany",,"1577","Not on View","16th century"," ",""," ","","Plate CXXVII","","From Trachtenbuch, (Nuremberg, 1577)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.14,319","Artist: Jost Amman; Cutter: Hans Weigel; Publisher: Hans Weigel","Artist","Swiss","Swiss, 1539 - 1591","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Colas 113 Lipperheide: Aa 14 (Weigel)",,"[""""]","media",0.120889954,,,,,,,,,,,,,,,,,,,,,,, "119810","Maria von Medicis, Gemahlin Heinrichs IV von Frankreich","Engraving"," Prints","7 3/16 × 5 7/8 in. (18.26 × 14.92 cm) (image) 11 15/16 × 9 3/4 in. (30.32 × 24.77 cm) (sheet)","Print","Europe","Germany",,"19th century","Not on View","19th century","Signature, Title and Inscription on sheet in black: [Gemalt von Giovanni Antonio Fasolo Lithographirt von G. Wolff in Dresden/MARIA VON MEDICIS, Gemahlin Heinrighs IV von Frankreich/ (Dresden Galerie)/ 81]; on sheet in pencil: [1-397]","See Inscription","","","portrait of a woman standing with left hand on table; wearing elaborate gown decorated with jewels; open ruff; three quarter view","","From ","Gift of John Crosby","P.47.276","Painter: After Giovanni Antonio Fasolo; Lithographer: Gustav Wolff","Artist","German","German, b. 1800","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.120889954,,,,,,,,,,,,,,,,,,,,,,, "123909","Cardinal Hippolito De Medici and Sebastiano Del Piombo","Engraving"," Prints","5 5/8 × 4 7/16 in. (14.29 × 11.27 cm) (image) 9 11/16 × 6 5/8 in. (24.61 × 16.83 cm) (sheet) 11 15/16 × 9 5/8 in. (30.32 × 24.45 cm) (mount)","Print","Europe","England",,"1836","Not on View","19th century","Signature, Title, and Inscription in plate in black: Engraved by W.T.Fry / CARDINAL HIPPOLITO DE MEDICI, & / SEBASITANO DEL PIOMBO / From the Original Picture by Sebastiano del Piombo in / THE NATIONAL GALLERY / No. 37 / Jones & Co. Temple of the Muses, Finsbury Square, London | on sheet in pencil: 2-206","See Inscription","","","Portrait of Cardinal Ippolito de' Medici and Monsignor Mario Bracci; after a painting now attributed to Girolamo da Carpi.","","From The National Gallery of Pictures by the Great Masters","Gift of John Crosby","P.47.625","Engraver: William Thomas Fry; Artist: Attributed to Girolamo da Carpi; Publisher: Jones & Co.","Artist","Italian","Italian, 1501 - 1556","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.120889954,,,,,,,,,,,,,,,,,,,,,,, "72238","Narcissus Medio, from Livre de Fleurs","Engraving"," Prints","7 x 8 5/8 in. (17.78 x 21.91 cm) (plate)","Print","Europe","France",,"1620","Not on View","17th century"," ",""," ","","","","From Livre de Fleurs, (Paris, 1620)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.14,175","Engraver: François L'Anglois; Publisher: François L'Anglois","Artist","French","French, 1589 - 1647","","European Art","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.120889954,,,,,,,,,,,,,,,,,,,,,,, "4028","Self-portrait","Rayon, silk, cotton, acrylic paint; machine and hand embroidery"," Textiles","8 x 4 3/4 in. (20.32 x 12.07 cm) (sight) 14 3/4 x 11 in. (37.47 x 27.94 cm) (outer frame)",,"North America","United States",,"1989-1990","Not on View","20th century","","","","The edgy visual imagery and powerful impact of Mary Bero's work is all the more surprising when one realizes its diminutive size and the intricacy of the embroidery media she employs. Artists who reached artistic maturity in the later part of the 20th century were less pressured by the need to produce physically large works in order to receive recognition. Multi-media objects had greater acceptance and, of even greater importance, the point made by many of the artists represented in this exhibit that meaningful visual messages depend on aesthetic sensibility not size.","machine embroidery with added hand embroidery, rayon, silk, and cotton threads, acrylic paints","","From ","Gift of the artist","90.64","Artist: Mary Bero","Artist","American","American, born 1949","%C2%A9 Mary Bero","Decorative Arts, Textiles and Sculpture","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.11935895,,,,,,,,,,,,,,,,,,,,,,, "125820","Four Indeterminate Lines","Etching, polymer gravure, carborundum and photo etching with wiping"," Prints","38 × 55 1/2 in. (96.52 × 140.97 cm) (image) 46 1/4 × 62 3/4 in. (117.48 × 159.39 cm) (sheet)","Print","Europe","England",,"2014","Not on View","21st century","","bottom edge, R: Four Indeterminate Lines B. Venet","LLC: AP 6/10","Bernar Venet is internationally acclaimed for his monumental sculptures made from torch-cut bars of COR-TEN steel. A master of linear abstraction in three dimensions, his sculptures feature stacked and intermingled arcs and spirals of steel in seemingly gravity-defying arrangements. Venet is also an accomplished draftsman and printmaker, often exploring themes directly related to his sculpture. Four Indeterminate Lines is part of a long-running series of abstractions that explore the infinite variations of the line as a visual and conceptual construct. Here, Venet takes full advantage of the technical and creative possibilities of intaglio print processes, producing a bold and dynamic image that mimics the texture, dimensionality, and visual weight of his rusted steel sculptures. Set against a stark white ground, the dark, interwoven lines of the image have an imposing spatial presence that seems to float above the surface of the sheet, an illusion of three-dimensionality that suggests the visual experience of viewing his fabricated steel sculptures. Published in 2014, it is the largest and most complex print Venet has made in any media.","large, bold, black looping scribble lines with rust colored highlights; stray black chalky marks and smudges; lightly highlighted border; against white background","[World House Editions, Middlebury, Conn. (publisher), 2014–16; sold to Mia]","From ","Proceeds from the Minneapolis Print and Drawing Fair","2016.109","Artist: Bernar Venet","Artist","French","French, born 1941","%C2%A9 Bernar Venet %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",11136,8194,1,"1",0,,,"[""""]","media",0.11330248,,,,,,,,,,,,,,,,,,,,,,, "145284","Fred Hampton, in Memorium","Linocut on Awagami Kozo paper"," Prints; Works on Paper","16 7/8 × 11 7/8 in. (42.9 × 30.2 cm) (image) 21 1/4 × 16 1/4 in. (54 × 41.3 cm) (sheet)","Print","North America","United States",,"2020","Not on View","21st century","","BR below image, graphite: David Barthold","BL below image, graphite: Fred Hampton; BC below image, graphite: 2/20","As Minneapolis and the world mourned the murder of George Floyd in the summer of 2020, an outpouring of art was created by artists, professional and amateur alike—murals, sidewalk art, sculpture installations, cardboard signs, paintings, drawings, and prints. The works were made to memorialize Floyd and countless other Black citizens martyred in this country, to protest racial injustice and police brutality, and to try to help communities heal. Barthold, a New York printmaker and street artist, completed portrait prints of Floyd and other important Americans—John Lewis, Ruth Bader Ginsburg, Alexandria Ocasio-Cortez, and this portrait of the late political activist and Black Panther Party leader Fred Hampton—to, in the artist’s words, “remember the lost and honor the living.” Barthold mass-produced these likenesses and pasted them around the city of New York throughout the summer of 2020, and, again, in a campaign just before the 2020 election. To broaden their reach, he shared the images on social media, and sold the prints online, using the proceeds to raise funds for Black Lives Matter and the Bail Project social justice initiatives.","black on white image of man's head, facing to L in three-quarter view; microphone in BL corner","","From ","Gift of C.G. Boerner, New York","2023.43.1","Artist: David Barthold","Artist","American","American, born 1959","","Global Contemporary Art","Copyright Not Evaluated","valid",2261,3018,1,"1",0,,,"[""""]","media",0.11330248,,,,,,,,,,,,,,,,,,,,,,, "139005","George Floyd, In Memorium","Screenprint"," Prints","25 × 15 in. (63.5 × 38.1 cm) (sheet)","Print","North America","United States",,"2020","Not on View","21st century","Incribed LLC in pencil: 8:46","LRC in pencil: David Barthold","Numbered bottom center in pencil: 113/200","As Minneapolis and the world mourned the murder of George Floyd in the summer of 2020, an outpouring of art was created by artists, professional and amateur alike—murals, sidewalk art, sculpture installations, cardboard signs, paintings, drawings, and prints. The works were made to memorialize Floyd and countless other Black citizens martyred in this country, to protest racial injustice and police brutality, and to try to help communities heal. Barthold, a New York printmaker and street artist, completed this powerful memorial portrait of Floyd just days after he was killed. The artist subsequently produced other portrait prints of important Americans—John Lewis, Fred Hampton, Ruth Bader Ginsburg, and Alexandria Ocasio-Cortez—to, in the artist’s words, “remember the lost and honor the living.” Barthold mass-produced these likenesses and pasted them around the city of New York throughout the summer of 2020, and, again, in a campaign just before the 2020 election. To broaden their reach, he shared the images on social media, and sold the prints online, using the proceeds to raise money for Black Lives Matter and the Bail Project.","portrait of George Floyd in black inside an irregularly shaped dark form","The artist, New York; Rachel McGarry, Deephaven, Minn.; given to MIA, 2020.","From ","Anonymous gift","2020.91","Artist: David Barthold","Artist","American","American, born 1959","","Arts of the Americas","In Copyright","valid",4823,7846,1,"1",0,,,"[""""]","media",0.11330248,,,,,,,,,,,,,,,,,,,,,,, "145285","John Lewis, in Memorium","Linocut on Awagami Kozo paper"," Prints; Works on Paper","18 7/8 × 13 1/8 in. (48 × 33.4 cm) (image) 23 1/4 × 17 9/16 in. (59 × 44.6 cm) (sheet)","Print","North America","United States",,"2020","Not on View","21st century","Printed in black within the composition, oriented vertically on the clothing of the figure: JOHN LEWIS","BR below image, graphite: David Barthold","BL below image, graphite: John Lewis; BC below image, graphite: 2/20","As Minneapolis and the world mourned the murder of George Floyd in the summer of 2020, an outpouring of art was created by artists, professional and amateur alike—murals, sidewalk art, sculpture installations, cardboard signs, paintings, drawings, and prints. The works were made to memorialize Floyd and countless other Black citizens martyred in this country, to protest racial injustice and police brutality, and to try to help communities heal. Barthold, a New York printmaker and street artist, completed portrait prints of Floyd and other important Americans—Fred Hampton, Ruth Bader Ginsburg, Alexandria Ocasio-Cortez, and this portrait of the late congressman and civil rights activist John Lewis—to, in the artist’s words, “remember the lost and honor the living.” Barthold mass-produced these likenesses and pasted them around the city of New York throughout the summer of 2020, and, again, in a campaign just before the 2020 election. To broaden their reach, he shared the images on social media, and sold the prints online, using the proceeds to raise funds for Black Lives Matter and the Bail Project social justice initiatives.","black on white image of man's head (John Lewis), facing forward; wearing white shirt and striped necktie; vertical letters JOHN and LEWIS on shoulders of suit jacket","",,"Gift of C.G. Boerner, New York","2023.43.2","Artist: David Barthold","Artist","American","American, born 1959","","Global Contemporary Art","In Copyright","valid",2403,3192,1,"1",0,,,"[""""]","media",0.11330248,,,,,,,,,,,,,,,,,,,,,,, "5781","Untitled","Platinum print"," Photographs","4 1/2 x 3 9/16 in. (11.43 x 9.05 cm) (image) 14 x 11 in. (35.56 x 27.94 cm) (mount)",,"North America","United States",,"1922","Not on View","20th century","Signature; Date","LR, beneath photo: [Paul Outerbridge, Jr.; 1922]","","At the beginning of the 20th century, scientists, philosophers and artists began to ask a fundamental question about vision: How do we see and interpret objects in a world that seemed to speed up with the new technologies of modernity' Examples of this exploration of vision in art are presented in this gallery of paintings and sculptures. To study objects in space, artists favored portraits and still lifes that could be easily arranged. In painting, artists called attention to painting's two-dimensional surface and depicted objects that intersect, overlap, and fragment. In sculpture, they broke up three-dimensional forms into sections and left open spaces. This international movement, often called Cubism, influenced American photographer Paul Outerbridge. This is seen in Outerbridge's careful arrangement of a cheese board, cheese, crackers, and knife. Note the objects' geometric shapes, the camera's dramatic perspective from above the scene, and the image's cropping and odd spatial arrangement. Two years after the photograph was taken, Outerbridge moved to Paris and became friends with Pablo Picasso, a leading cubist. As you look at the various works in the room, consider how the different media (painting, photography, sculpture) determine what an artist can depict in the cubist style.","photo of cheese and crackers with knife on cutting board; mounted to board","",,"The Alfred and Ingrid Lenz Harrison Fund","98.55","Photographer: Paul Outerbridge, Jr.","Artist","American","American, 1896 - 1958","%C2%A9 Estate of Paul Outerbridge%2C Jr. %2F G. Ray Hawkins Gallery","Arts of the Americas","In Copyright","valid",3459,4475,1,"1",0,,,"[""""]","media",0.11330248,,,,,,,,,,,,,,,,,,,,,,, "3698","Swing Dynasty","Cotton; dyed, layered, stitched and cut fabric"," Textiles","98 x 68 1/2 in. (248.92 x 173.99 cm)",,"North America","United States",,"1986","Not on View","20th century","","","","In the last half of the 20th century the possibility of distinctive clothing as a form of artistic expression coalesced into the Wearable Art movement. Artists created art that were sculptural, kinetic and often suitable for presentation on a wall. The form of the Japanese kimono was particularly well suited for these aims and was utilized by many fiber artists using processes as diverse as weaving, dyeing, quilting or knitting. Tim Harding devised a unique textile form that particularly celebrated color and texture and ranged in imagery from the abstract to highly figural. Initial recognition of his work focused on his truly wearable pieces, but he has never limited himself to one form of presentation. Swing Dynasty was made for a museum exhibition and the artist used scale to make us consider objects in non-traditional ways. Today Harding's works are primarily constructed in a rectangular format, ranging from small wall pieces to large suspended hangings. He continues to push the boundaries of the media, encoding his message in a form that encourages the viewer to consider personal experience in a variety of ways.","Swing dynasty, 1986, art wear coat, dyed, slashed and layered fabric; cotton; L.98 x W.68-½ in.","",,"Gift of Richard and Roberta Simmons","87.97","Artist: Tim Harding","Artist","American","American, born 1950","%C2%A9 Tim Harding","Arts of the Americas","In Copyright–Educational Use","valid",4816,6773,0,"1",0,,,"[""""]","media",0.11330248,,,,,,,,,,,,,,,,,,,,,,, "65571","7 Pyramide in form einer Achtelskugel","Color screenprint"," Prints","35 x 24 in. (88.9 x 60.96 cm) (image) 40 x 27 in. (101.6 x 68.58 cm) (sheet)","Print","Europe","Scotland",,"1967","Not on View","20th century","","","","Edouardo Paolozzi was a leading modernist artist and pioneer of British Pop art that emerged in the early 1950s. As early as 1947, he repurposed pictures clipped from popular magazines and other mass-produced ephemera for his collages that critiqued postwar culture and the increasing mechanization of society. Exploring the image-rich environment of everyday life, Paolozzi also found himself drawn to new developments in science, technology, and mass media. He produced this screenprint, one of ten prints in the portfolio, after an excursion to California, where he visited popular sites like Disneyland and Paramount Studios, toured computer and technology labs at the University of California and Stanford University, and viewed operations at the industrial giants General Motors and Douglas Aircraft Company (now McDonnell Douglas). Here, Paolozzi blended motifs from popular culture with circuit boards, dot matrix patterns, and other machine-based imagery. Designed to be read horizontally (like a computer printout), the nonhierarchical arrangement of visual information hints at a dialogue between art and science.","","[Harcus Krakow Gallery, Boston]; sold to MIA, 1970.","From Universal Electronic Vacuum portfolio","The Herschel V. Jones Fund, by exchange","P.70.34.9","Artist: Sir Eduardo Paolozzi; Printer: Kelpra Studio, Ltd., London; Publisher: Editions Alecto, London","Artist","Scottish","Scottish, 1924 - 2005","%C2%A9Artists Rights Society %28ARS%29%2C New York %2F DACS%2C London","European Art","In Copyright","valid",4217,6206,1,"1",0,,,"[""""]","media",0.11330248,,,,,,,,,,,,,,,,,,,,,,, "142603","Collagraphic printing matrix for Malayah, from the suite ""Keepsakes""","Acrylic resin on antique christening gown, mounted on aluminum"," Printing Matrices","20 1/2 × 24 5/8 in. (52.1 × 62.5 cm)","Printing matrix","North America","United States",,"2021","Not on View","21st century","centered on verso, in black marker: DRESS PLATE #5","","","Delita Martin is a Houston based figurative artist who often blends diverse media and techniques to create visually potent images of women of color as icons of strength and community. Inspired by oral traditions as well as vintage and family photographs, Martin attempts to capture the spirit of her subjects—mainly friends and family members—and tell their individual and collective stories. Martin’s portraits and figurative scenes honor African American women and present positive images of Black identity through individualized narrative content that also provides a contextual connection to her subjects’ personal experiences. For her suite “Keepsakes,” Martin drew black and white lithographic portraits of several close friends and family members (and herself) based on photographs of them as children. Each portrait was then combined with an image printed directly from an antique christening dress collected by the artist and prepared as a collagraph printing matrix. To further individualize the portraits, each print features a distinctive background design and geometric pattern of hand stitched thread. Part tribute, part memento, the “Keepsakes” prints are each titled with the name of the individual portrayed. Martin’s portraits are both personal and universal, honoring a lifetime of friendship, connection, and community.","dress form outline; right half is light beige and left half is light grey","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2022.12.1","Artist: Delita Martin","Artist","American","American, born 1972","","Global Contemporary Art","In Copyright","valid",5954,5155,1,"1",0,,,"[""""]","media",0.11330247,,,,true,,,,,,,,,,,,,,,,,,, "118102","Peaceful Mother Earth","Bamboo (madake), rattan, lacquer"," Bamboo work","8 × 16 1/4 × 16 1/4 in. (20.32 × 41.28 × 41.28 cm)","Flower basket","Asia","Japan",,"2003","Not on View","21st century","","signed on bottom","","“Peaceful Mother Earth” (Shizukanaru daichi) is one of four similar works that are all titled “Mother Earth” (Daichi). This work is bigger than the others and conceived to be quieter looking according to the artist. In 2004, Tanioka Aiko won the Hiramatsu Prize at the Osaka Art Crafts Exhibition (Ōsaka kōgei ten) with a similar piece. In the following year, this piece won the Sakai City Mayor Prize at Sakai City Exhibition (Sakai-shi ten). Tanioka Aiko created this work using five strips of dyed madake bamboo with square plaiting technique (yotsume-ami). Usually bamboo baskets are woven from the bottom, but this work was woven from the top and the mouth was created last. The square plaiting technique and geometric form look simple, but in fact it takes a lot of work and expertise to arrange and weave each strip while maintaining a consistent appearance. The artist has explained that the flat upper surface was intended to express that “all human beings are equal” and her hopes for “peace and calm in the world.” According to the artist, this work was produced with great appreciation for mother earth. A similar work is illustrated in Coffland, Robert T. et al. Hin: The quiet beauty of Japanese bamboo art. Chicago, Grinnell, Santa Fe: Art Media Resources; Faulconer Gallery; TAI Gallery, 2006, p. 62–63.","flat, square topped basket with round opening; sides gracefully bow downward onto a narrower foot; generally triangular shaped; open weave of wider bands of five thin bamboo strips each; black lacquered bamboo water container","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.905a,b","Artist: Tanioka Aiko","Artist","Japanese","Japanese, born 1947","%C2%A9 Tanioka Aiko","Asian Art","In Copyright","valid",3872,2592,1,"1",0,,,"[""""]","media",0.11330247,true,,,,,,,,,,,,,,,,,,,,,, "140039","COVID-19: Labor Camp Report","Digital folio for printing 225 poster prints for exhibition (USB drive)"," Digital Art","20 × 29 in. (50.8 × 73.7 cm) (printed posters, each) 1 1/8 × 3 1/4 × 2 1/4 in. (storage, box)","USB drive","North America","United States",,"2020","Not on View","21st century","","on bottom of box lid in black: signed (illegable) 2020","","On March 24, 2020, in direct response to the global coronavirus pandemic, artist Piotr Szyhalski created his first COVID-19: Labor Camp Report. What started as a single drawing slowly morphed into a daily practice, a way to reconcile and record the thoughts, feelings, and change being wrought in the world. These ink drawings and hand-lettered texts were shared daily by Szyhalski on Instagram, poignantly capturing our politically fraught and painful landscape over the course of 225 days. Accompanied by powerful captions by the artist, the series operates as both a witness to the current crisis and a container of time, time that is both labored and lost. These daily dispatches, shared with thousands via social media platforms, serve as a way of witnessing, processing, and recording the complexities of life during the first eight months of the global COVID-19 pandemic. At times harsh and confrontational, other times quiet and contemplative, the Reports map multiple layers of interwoven historical phenomena: from the global health crisis, economic inequities, and the uprising following the murder of George Floyd by Minneapolis police to environmental catastrophes and the waning days of the autocratic regime in the United States.","small black box with cream colored labed outined twice with red; device is a small charcoal colored Samsung drive the size of a quarter; ""32 USB 3.1"" written on the metal part","","From ","Gift of funds from Mary and Bob Mersky","2021.1.226","Artist: Piotr Szyhalski / Labor Camp","Artist","American (born Poland)","Ameircan (born Poland), born 1967","","Global Contemporary Art","In Copyright","valid",3691,1825,1,"1",0,,,"[""140039"",""140453""]","media",0.11330247,,,,,,,,,,,,,,,,,,,,,,, "112696","Study of a Figure in Priest's Robes","Black and red chalk, oiled charcoal, grey wash, heightened with white"," Drawings","14 15/16 x 10 1/16 in. (37.94 x 25.56 cm) (approx.) 20 1/2 x 24 15/16 in. (52.07 x 63.34 cm) (mat)","Drawing","Europe","Belgium",,"c. 1650","Not on View","17th century","Inscription and Stamp on back, in brown ink: illegible inscription; on back, in pencil: [000581]","","LRC, stamped in black: [PR]","Jacob Jordaens was the leading painter in Antwerp in the generation after Rubens. He was greatly influenced by the elder artist and occasionally worked for him. Though he is now best known for his droll genre pictures, he also painted religious, historical, mythological, and allegorical works. His prolific draftsmanship is represented by some 450 drawings plausibly attributed to him today. Like Rubens, he worked with a decisive hand, and scholars have had some difficulty assigning some drawing with certainty to one or the other. Jordaens' work is characterized by clear contours and insistent hatching. He often mixed media in his drawings. The use of black and red chalk, oiled charcoal, gray wash, and white heightening seen in the present drapery study is elaborate but not exceptional. The combination of red and black chalk is a hallmark of his workaday drawings. The crisp, luminous effect produced by the brush work in gray and white typifies the close attention that he gave to lighting in preparing his compositions. Though the present study has not been connected with a finshed painting, it clearly represents a priest raising his hand in a gesture of blessing.","red and black drawing of torso, legs and arms of a figure wearing robes, with red overlay garment with scroll designs on PL side","London art market, 1975. Private collection, New York, 1980. Mathias Polakovits, (Budapest 1921-Paris 1987, Lugt 3561). Sale, Sotheby's, Amsterdam, November 11, 1997, lot 23, not sold. Sale, Sotheby's, London, July 5, 2000, lot 142. Rev. Rosalie ""Rody"" Heffelfinger Hall, St. Paul, (by 2002-d. 2007); [Goodwill Industries, St. Paul, sold to EIlliot]; Lucy Elliott, Stockholm, Wisonsin (until 2011, sold to MIA)","From ","The Winton Jones Endowment Fund for Prints and Drawings","2011.61","Artist: Jacob Jordaens","Artist","Flemish","Flemish, 1593 - 1678","","European Art","Public Domain","valid",2909,4216,0,"1",1,,,"[""""]","media",0.11275185,,,,,,,,,,,,,,,,,,,,,,, "137489","Harriet","Color photolithograph and photopolymer gravure"," Prints","28 1/2 × 22 in. (72.39 × 55.88 cm) (image) 33 × 26 in. (83.82 × 66.04 cm) (sheet)","Print","North America","United States",,"2018","Not on View","21st century","","LR in pencil below image: Rico Gatson 2018 | BC in pencil below image: HARRIET","LL in pencil below image: ARCH 1/2 | Publisher\'s blindstamp, LL below image: HP","Rico Gatson, a multidisciplinary artist based in Los Angeles, uses a distinctive style of portraiture to explore issues of Black consciousness, identity, and sociopolitical power dynamics. This mixed media print portrays Harriet Tubman, a leading American abolitionist and political activist. Called the “Moses of her people,” Tubman was born into an enslaved family but escaped and devoted her life to freeing other enslaved persons using the network of safe houses known as the Underground Railroad. The portrait is part of Gatson’s long-running “Icons” series of paintings, drawings, and prints that celebrates prominent Black civil rights activists, writers, musicians, actors, and sports figures. In these works, Gatson combined existing black-and-white photographs with radiating lines of brilliant color that symbolize centers of power. Gatson explains: “I was thinking early on about these figures as superheroes. As the series progressed, they became literally icons—the halos and lines are a graphic representation of energy coming out of them. The most important part for me is feeling.”","Photolithographic plates created with films of spray paint and stencil drawings created by the artist. Photo polymergravure plate made from a retouched historical photograph of Harriet Tubman.","Highpoint Editions, Minneapolis (publisher); sold to MIA, 2020.","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2020.85.45","Artist: Rico Gatson; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1966","Copyright %C2%A9 Rico Gatson%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",5700,7100,0,"1",0,,,"[""137489"",""140801"",""142289"",""142290"",""142291"",""142292"",""142293"",""142294"",""142295"",""142296"",""142297"",""142298"",""142299"",""142300""]","media",0.11275185,,,,true,,,,,,,,,,,,,,,,,,, "114554","Junior Suite","Diasec (TM) mounted C-print"," Photographs","55 1/4 x 45 1/4 x 1 3/8 in. (140.34 x 114.94 x 3.49 cm)","Photograph","Europe","Germany",,"2012","Not on View","21st century","","","","Whitney Houston's death from a drug overdose in a Beverly Hills hotel room in 2012 evoked a huge public response. The singer’s name was Googled more than any other name for the entire year. This work is the response of one artist to that event. In this photograph German artist Thomas Demand recreated a tabloid image of the room-service table from which Houston was eating just before her death. If you look closely, you can see that the entire image has been fabricated; from the hotel furniture to the purple flowers, Demand painstakingly constructed everything you see from colored paper. This image of Houston’s “last supper” has become an iconic image of her death, even without picturing Houston herself. The viewer is granted the illusion of intimacy with Houston and the situation of her death through an morbid invasion of privacy. In an interview with the New York Times in April 2012, Demand commented on his shock at the existence of such an image in the media: “The proliferation of that kind of image at the time when she was not even in the coffin amazed me. It amazed me that it would ever have been released.” The presence of such a photograph begs the question “is nothing sacred'”.","photographic image of paper construction of dirty dishes, glasses, beverage cans, salt and pepper shakers, flowers in a vase, napkins, etc., after a meal, on a small table with a green ""tablecloth""; image face mounted to Plexi with aluminum backing; aluminum ""frame"" on back","","From ","The P. D. McMillan Memorial Fund","2012.36","Photographer: Thomas Demand","Artist","German","German, born 1964","%C2%A9 Thomas Demand %2F Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Germany","Global Contemporary Art","In Copyright","valid",6362,7785,1,"1",0,,,"[""""]","media",0.11275185,,,,,,,,true,,,,,,,,,,,,,,, "107348","Mucius Scaevola Before Porsena","Pen and brown ink, black and red chalk"," Drawings","10 1/2 x 16 7/16 in. (26.67 x 41.75 cm) (sheet)","Drawing","Europe","Italy",,"1740s","Not on View","18th century","Inscription URC, in pencil: [E.17]; on back, in pencil: [x56] and crossed-out inscription","","Watermark: angel kneeling in profile (not in Heawood or Piccard, similar to Briquet 632) ","The ancient story of Mucius Scaevola was a popular subject in 17th and 18th-century Italian art. When the ancient city of Rome was under attack by Etruscan troops, a young Roman nobleman Mucius snuck into the enemy camp to kill the invading army's king, Porsena. Mucius, however, was seized after killing the king's secretary by mistake. Indifferent to his seemingly sealed fate, Mucius sacrificed his right hand in front of Porsena and his men, shoving it into a fire. The king was so impressed by his bravery, he set him free, and the young hero was henceforce called ""Scaevola"" or left-handed. This compositional study had no attribution when it arrived at the museum. It borrows heavily from Raphael's famous Sacrifice of Lystra, one of the Sistine tapestry designs Raphael executed in 1515, which made it difficult to recognize the hand of the artist. Yet it seems likely to be by prolific and accomplished 18th-century Venetian draftsman Gaspare Diziani, as has recently been suggested by the scholar George Knox. The energetic, almost frantic penwork, the planar compositional format, the figure types and costuming are all consistent with his drawing style, and he favored this combination of media for large compositional studies, that is, pen and ink over red chalk.","2 soldiers at center; soldier at L grabbing the shoulders of soldier at R; caped man at L extends arm and rushes toward soldiers; figures with cow at R; 2 jugs, LLC; black and brown ink","Joseph F. McCrindle (until d. 2008); Joseph F. McCrindle Foundation (2008-2009; gave to MIA)","From ","Gift of the Joseph F. McCrindle Collection","2009.53.66","Artist: Gaspare Diziani","Artist","Italian","Italian, 1689-1767","","European Art","Public Domain","valid",5075,3306,0,"1",0,,,"[""""]","media",0.11275185,,,,,,,,,,,,,,,,,,,,,,, "137630","Yondering","Painted collage on paper"," Paintings; Collages / Assemblages; Works on Paper","42 7/8 × 44 3/4 in. (108.9 × 113.67 cm) (sheet) 47 7/8 × 49 5/8 × 2 in. (121.6 × 126.05 × 5.08 cm) (outer frame)","Collage and painting","North America","United States",,"2011","Not on View","21st century","","","","Brad Kahlhamer’s mixed media painting and collage, Yondering, exemplifies his complex expressionistic approach that blends enigmatic figures, landscape elements, symbols, and text to explore the complicated path of his own identity. The animated scene functions as a locus of personal memories, an abstracted narrative that according to the artist, “maps the self.” Kahlhamer coined the word “yondering” to describe the experiential navigations of his tripartite identity that includes his Native American birthright, his adoptive childhood growing up in Wisconsin with a German American family, and his adult life working as a musician and artist on the Lower East Side of New York City. “Abstraction is a form of cartooning with its own signatures and readings,” he explains, “but in the end is perceived as person. I’m profiling myself, but am interested in the history of those caricatures as well. Basically, I’m making landscapes that I can live in, within that history.” According to the artist, his inclusion of the words “Ugh” and “Ughskin” refers to the racial slurs he endured as a youth growing up in a predominantly white community. Here, Kahlhamer embraces them as symbols of strength and pride in his Native heritage.","collage consisting of two figures, labelled Frank and Sara, attached to an abstract background, with text across top edge (""Yondering"") and bottom edge (""Ugh Ugh Ughskin Ugh""); male figure on L, ""Frank,"" is outlined in black with red text labelling different body parts; the female figure on R, ""Sara,"" is outlined in black with red cheeks and a gray body and shadow, surrounded by white text (""Sara in woods""), white trees, and yellow smiley faces; a rectangular addition is attached at C with abstract black imagery as well as text over red sections (""red+red+red""...etc.); background is mostly black and gray, with sections of red, yellow, and blue along upper edge; text across top is orange and blue with plus signs and a dream catcher on R; text across bottom is in patterned, geometric border","The artist, New York: [Jack Shainman Gallery, New York]; sold to MIA, 2020.","From ","Gift of funds from Mary and Bob Mersky","2020.30","Artist: Brad Kahlhamer","Artist","American","American, born 1956","%C2%A9 Brad Kahlhamer","Arts of the Americas","In Copyright","valid",7303,7007,1,"1",0,,,"[""""]","media",0.11275185,,,,,true,,,,,,,,,,,,,,,,,, "127015","Vortex Drawing 17","Titanium white pigment and linseed oil with black gesso and black acrylic ground on white Tyvek fabric"," Drawings","115 1/2 × 104 1/4 in. (293.37 × 264.8 cm)","Drawing","North America","United States",,"2017","Not on View","21st century","","LR in black ink marker, verso: A. Horochowski 2017 | LL in black ink marker, verso: Vortex Drawing 17","Publisher\'s stamp in light gray ink, LL on verso: HP","Alexa Horochowski’s monumental “vortex” drawing highlights the intransigent problem of non-biodegradable trash polluting the world’s oceans and its effects on living organisms and marine ecosystems. Horochowski produced the drawing, one of an extended series, using an array of commercial barrel fans to create an artificial wind vortex on a flat surface. She selected a mixture of Styrofoam cups, polystyrene packing peanuts, aluminum cans, and other trash materials coated in substances such as graphite, ink, acrylic, linseed oil, and pigments, and added them to the vortex. The drawings were formed by the wind blowing the debris so the coatings would leave marks on white or black grounds. Though Horochowski chose the drawing constituents and guided the process, the element of chance played a large role in determining the final compositions. These experimental works actually blend aspects of drawing and printmaking, order and randomness. The works appear gestural due to the action of the materials/media within the vortex, but the mark making is mechanical, one step removed from the artist’s hand. Under the artist’s supervision, intention and chance vie for dominance. The drawings are visual compelling, but also carry a vital ethical message about our inadequate stewardship of the planet.","Titanium white pigment and linseed oil on Tyvek with black gesso and black Golden Acrylic Pastel Ground. Made from polystyrene cups that transferred titanium white dry pigment and linseed oil to Tyvek when placed into a wind vortex created by the artist using commercial barrel fans.","The artist, Minneapolis; (Highpoint Editions, Minneapolis, sold to Mersky 2017); Robert B. Mersky, Minneapolis; given to MIA, 2017.","From Vortex Drawings","Highpoint Editions Archive, Gift of Mary and Bob Mersky","2017.80.6","Artist: Alexa Horochowski; Publisher: Highpoint Editions, Minneapolis","Artist","American and Argentinian","American and Argentinian, born 1965","Copyright %C2%A9 Alexa Horochowski%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",7169,7971,0,"1",1,,,"[""""]","media",0.11275185,,,,,true,,,,,,,,,,,,,true,true,,,, "128428","The End","Color monotype, relief printing, and collage on mulberry paper"," Prints; Collages / Assemblages; Works on Paper","33 1/16 × 23 15/16 in. (83.98 × 60.8 cm) (sheet)","Monotype and collage","North America","United States",,"2016","Not on View","21st century","","BC in pencil on verso: Todd Norsten 2016","Publisher\'s stamp in light gray ink, LLC on verso: HP","Minnesota-based artist (hunter, and fisherman) Todd Norsten finds meaning, humor, and beauty in the vernacular, appropriating texts and images from the signs, billboards, graffiti, and everyday objects he encounters in the rural prairies of Minnesota or the gritty urban underbellies of New York and beyond. This work is from his recent “N O W H E R E” series, a group of largely text-based monoprints, many inspired by humble roadside message boards. In observing and isolating these anonymous homespun missives—which range from apocalyptic to celebratory, poignant to obtuse—Norsten illuminates communities and hidden worlds. In the age of social media, these quaint, shabby, homemade signs appear antiquated, yet also perhaps more authentic or sincere in sentiment. (Norsten’s active Instagram account amusingly melds these old and new modes of communication). The physical qualities of the signs he appropriates are as important to the artist as the messages themselves. He meticulously reproduces the simple fonts, the uneven spacing and alignment of the letters, the shiny or dull surfaces, layering the printing inks for texture, stenciling, and collaging, to create superbly crafted fine art versions of the original ephemeral signs that inspired him. In this exercise he makes the ugly beautiful, and the simple provocative or even eloquent, and visualizes humanity’s vital need for expression and connection.","Monotype, relief printing, and collage using oil-based inks. Cream-colored paper with six white strips of tape adhered forming five horizontal sections; large block uppercase letters printed on plastic tabs in yellow and red ink, reading ""THE END IS AT HAND AGAIN""; two columns on right and left edges lined with six stars in black ink, printed on plastic tabs.","Highpoint Editions, Minneapolis (publisher); sold to MIA, 2018.","From NOWHERE","Highpoint Editions Archive, The Plautz Family Endowment","2018.31","Artist: Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","American","American, born 1967","Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",6061,8265,0,"1",0,,,"[""128428"",""139508"",""139509"",""139510"",""139511"",""139512"",""139513"",""139514"",""139515"",""139516"",""139517"",""139518"",""139519"",""139520"",""139521"",""139522"",""139523"",""139524"",""139533"",""140800""]","media",0.11275185,,,,,,,,,,,,,,true,,,,,,,,, "140022","Ntozake","Colored pencil and found photograph on paper"," Drawings; Collages / Assemblages; Works on Paper","21 3/4 × 30 1/8 in. (55.2 × 76.5 cm) (sheet) 25 1/2 × 33 1/2 × 2 in. (64.8 × 85.1 × 5.1 cm) (outer frame)","Drawing and collage","North America","United States",,"2020","Not on View","21st century","","Signed and titled in pencil, verso: Rico Gatson Ntozake","","The mixed media work, Ntozake, is part of Rico Gatson’s long-running “Icons” series of paintings, drawings, and prints celebrating prominent Black civil rights activists, writers, musicians, actors, and sports figures. Initiated in 2007, the series has featured such notable figures as Harriet Tubman, Nelson Mandela, Angela Davis, Dr. Martin Luther King, Jr., James Baldwin, Louis Armstrong, Nina Simone, Muhammad Ali, among others. In these works, Gatson combines existing black-and-white photographs of his subjects with radiating lines of vibrant colors—red, green, yellow, orange, black—that symbolize centers of power and call to mind colors associated with the Pan-African flag and Black nationalism. In this example from 2020, Gatson celebrates the prominent Black feminist playwright, poet, and writer Ntozake Shange (1948-2019), whose literary work explores issues relating to race, feminism, and Black consciousness. Internationally acclaimed, Shange is part of the Black Arts Movement, a subset of the Black Power Movement, and is perhaps best remembered for her award-winning play For colored girls who have considered suicide/when the rainbow is enuf, a groundbreaking “choreopoem” that combines poetry, dance, and music in dramatic monologues that explore the life experiences of contemporary women of color.","black-and-white bust-length photograph of Ntozake Shange wearing a headscarf and a blouse with butterfly pattern at bottom center; radiating lines in black, yellow, green, orange, and red extending out from behind the photograph; white ground; received in white frame","The artist, New York; [Miles McEnery Gallery, New York]; sold to MIA, 2021.","From Icons series","Gift of funds from Mary and Bob Mersky","2021.23","Artist: Rico Gatson","Artist","American","American, born 1966","","Arts of the Americas","In Copyright","valid",8170,5987,1,"1",0,,,"[""""]","media",0.11275185,,,,true,,,,,,,,,,,,,,,,,,, "144591","Allegory of Summer","Watercolor, pastel, and pencil on paper"," Drawings; Works on Paper","16 1/4 × 16 1/4 in. (41.3 × 41.3 cm) (sight, tondo) 30 1/4 × 30 1/4 × 2 1/4 in. (76.8 × 76.8 × 5.7 cm) (outer frame)","Watercolor","Europe","France",,"1862","Not on View","19th century","See Signed","left center in pen and ink: J · TOURNY. | right center in pen and ink: LYON · 1862","","The French artist Joseph Gabriel Tourny worked across media—drawing, painting, printmaking—but distinguished himself in the medium of watercolor. He was interested in the history of art, studying Rembrandt’s prints and Italian art of all periods. He spent considerable time in Rome, copying old masters like Raphael, and medieval and ancient works. This interest is reflected in his “Allegory of Summer,” portrayed as a pensive young woman in a classically inspired wheat and flower crown Tourny has invented anew. The figure's necklace and earrings also mimic ancient Roman prototypes, but are refreshed in a contemporary manner. The woman, likewise is rooted in Tourny’s own century. It may be a portrait. The sitter’s facial features are individualized, and she resembles a woman featured in at least four of Tourny’s portraits. Portrait or not, she is portrayed as the allegory of summer and presented before a glittering gold mosaic. Each golden tile varies in shape and tone, so that the hundreds of meticulously painted and drawn tesserae have a trompe l’oeil effect.","portrait of a woman with brown wavy hair, wearing a wreath of red poppies, blue flowers, and wheat stems, pendant earrings and a necklace with coral-colored beads, blouse with lace at neckline, and a striped wrap in gold, tan, medium blue, and coral; gold grid of mosaic tiles behind woman's head; elaborate carved gilt frame with outer vines with berries and inner band with leaves, acorns, flowers, and berries","Sale, Paris, November 26, 1894, ""Summer and Winter, Two Female Heads,"" Fr 465; Private collection, France. [Ambrose Naumann Fine Art, New York, by 2020; to Mosler]; [Mireille Mosler, New York, 2023; sold to Mia]",,"The Putnam Dana McMillan Fund","2023.24","Artist: Joseph Gabriel Tourny","Artist","French","French, 1817 - 1880","","European Art","Public Domain","valid",8379,8388,0,"1",1,,,"[""""]","media",0.11275185,,,,,,,,,,,,,,,,,,,,,,, "126302","Double Still Life","Watercolor, gouache, permanent marker, pastels, latex paint, oil stain, and clearcoat on wood; diptych"," Sculpture","12 1/2 × 9 5/16 × 6 1/8 in. (31.75 × 23.65 × 15.56 cm) (a, color) 12 1/2 × 9 3/4 × 7 7/16 in. (31.75 × 24.77 × 18.89 cm) (b, grey)","Sculpture, diptych",,,,"2015","Not on View","21st century","","","","Katy Cowan’s work incorporates a variety of materials into a studio practice that investigates the intersection of fine art, craft, and labor. Cowan is able to seamlessly shift between media from painting to ceramics to textile to sculpture, and back again; each of these transitions rely on a larger systematic way of thinking within the artist’s practice through alteration, repetition, and a conceptual emphasis on material choice. Double Still Life (2015), consists of a playful but thoughtful juxtaposition of a wooden still life positive and a physical representation of its shadowy other. The rough-hewn shapes of fruits and a wine bottle are screwed together in a matter-of-fact way that highlights the process of the object's making. Cowan paints the plywood surfaces with washes of watercolor and floral imprints and reconfigures those wood slices to further abstract the form’s legibility, with the intention of drawing more attention to the materiality of the object itself. Cowan’s deliberate confusion of representation asks viewers to stumble when recognizing subject matter, and her material choice of wood proposes to elevate this material to that of a more traditional sculptural medium.","a: wood sculpture consisting of cut out pieces of fruit layered on top of each other and place in front of a bottle shape; attached with screws; pieces are hand colored with marker and paint; clear coat over coloring; b: wood sculpture consisting of cut out 'still life objects' in the shapes of bottles and pieces of fruit layered on top of each other; attached with screws; all objects are painted with a light wash of gray paint","",,"Gift of funds from Eric and Nancy Ritter in memory of Richard Ritter and Pola Waga Ritter","2017.8a,b","Artist: Katy Cowan","Artist","American","American, born 1982","%C2%A9 Katy Cowan","Global Contemporary Art","In Copyright","valid",8186,6136,1,"1",0,,,"[""""]","media",0.11275185,true,,,,,,,,,,,,,,,,,,,,,, "32467","Chrysanthemum","Ink and color on paper"," Paintings","54 1/16 x 13 3/8 in. (137.32 x 33.97 cm) (image)","Hanging scroll","Asia","China",,"20th century","Not on View","20th century","Inscription; Stamps; Tag","","[When we departed last September, the chrysanthemums in the garden started to wither. When my son left one year ago, my tears penetrated my sleeves and clothes. I lost my grandson, Yu-Sheng, on the night of November first. It has almost been a year. I painted chrysanthemum and wrote this commemoration to memorize him, today and forever.], in Chinese, in black, along left edge; four red seals, three at LL corner, one at LR corner; dealer\'s tag, on hanging cord","In China, flowers and birds were ubiquitous motifs in art. The endurance and resonance of these motifs arose not only from their natural beauty, but also through their cultural associations. The blossoms of chrysanthemum flowers embody purity. Among the last blooms of autumn, they were often regarded as a symbol of a scholarly recluse. Together with the orchid, the plum blossom, and bamboo they comprised a grouping known as the ""Four Gentlemen."" The flower is a favored motif among literati artists. Qi Baishi, one of the greatest Chinese painters in modern history, executed the flowers in mogu or ""boneless style"" and the leaves and blossoms are rendered without outline. The mixture of pure ink and red pigment translates the chrysanthemum's aesthetic of lofty elegance into a chaste and royal image. Jennifer Steinkamp, a contemporary American installation artist, created a similar floral image using different media and conveying different ideas. Hurdy Gurdy Man (Chrysanthemums) (2006) is a computer-animated projection in which Steinkamp has set a traditional still-life subject into motion. A group of delicate, pastel-hued chrysanthemums seems to bob and sway to the Donovan song for which the piece is named. Their movement is mesmerizing, but also vaguely unsettling. The flowers in this work are based on her research of Chinese images of flowers at the Huntington Library in Los Angeles.","Three very tall, thin, straight plant stems with grey and black leaves; on top of each stem is a large red flower","",,"Gift of Ruth and Bruce Dayton","99.53.1","Maker: Qi Baishi","Artist","Chinese","Chinese, 1863 - 1957","","Asian Art","No Copyright–United States","valid",1811,6911,0,"1",0,,,"[""""]","media",0.11275185,,,,,,,,,,,,,,,,,,,,,,, "120593","Untitled (Sugar Honey Maid Graham Crackers Book)","Soot and soot wash drawings on found beige paper, in covers fashioned from thin gray cardboard faced with beige paper (commercially printed Sugar Honey Maid graham crackers packaging); bound with white cotton string"," Drawings; Books","9 x 7-3/8 x 1/8 in. (22.86 × 18.73 × 0.32 cm)","Artist's book","North America","United States",,"after 1930","Not on View","20th century","","Not signed","","Born in rural Idaho, James Castle was a self-taught artist who lived with family members throughout his life. Though isolated from the art world, he produced over 20,000 unique works of art—drawings, collages, handmade books, and constructions—made from found materials and improvised media. Profoundly deaf from birth, Castle did not speak and never learned to sign, red lips, or write. His remarkable artistic achievements are now recognized internationally. Consisting of more than 100 individual hand-drawn images on 16 sheets of found paper, this untitled and undated artist’s book is a distinctive blend of material originality and expressive content. Using stove soot and saliva to form an ink, Castle produced the various drawings in the book as part of a cohesive compositional whole made up of two broad subject categories: portrait heads and calendars. Each page of drawings operates as part of an intentional sequential arrangement that is part of the book’s structure and meaning. It is an unveiling through time. The meaning and origin of the various images remains largely undeciphered. Castle relied on multiple sources for his imagery, including books, magazines, commercial packaging, as well as his own imagination and memories. The result is a delightfully engaging work of art that demonstrates Castle’s sophisticated artistic abilities while revealing his persistent inner need for personal expression.","16 pp., 79 illustrations; bound with white string in cardboard covers repurposed from a green and yellow ""Sugar Honey Maid"" graham cracker box; thick, black brushstrokes in ""h"" formation on inside of front cover with two wavy, black lines above and below; first three pages feature grid of nine squares each containing an image drawn in black -- mixture of portraits, interiors, and abstractions; wavy, horizontal black lines drawn in-between squares to mimic lines of text; layout of image and ""text"" breaks from grid on pages 4-5; page 6-8 feature two rectangles comprised of 21 squares some with images others blank; selection of letters (Greek?) rendered above each rectangle; inside of back cover has single, abstract figure in square with wavy, black lines above and below square; not signed","The artist; given to his niece, Geraldine Wade Garrow, 1930-2007, Boise, Idaho; Estate of Geraldine Wade Garrow, 2007-2014; (Karen Lennox Gallery, Chicago); sold to MIA, 2015","From ","The Mary and Robyn Campbell Fund for Art Books and the David and Margaret Christenson Endowment for Art Acquisition","2015.46","Artist: James Castle","Artist","American","American, 1899–1977","Copyright %C2%A9 2018 James Castle Collection and Archive LP%2C All rights reserved.","Arts of the Americas","In Copyright","valid",7216,5412,1,"1",1,,,"[""""]","media",0.11220123,,,,,,,,,,,,,,,,,,,,,,, "140453","COVID-19: Labor Camp Report","Digital files on a flash drive"," Digital Art",,"Digital files","North America","United States",,"2020","Not on View","21st century","","","","On March 24, 2020, in direct response to the global coronavirus pandemic, artist Piotr Szyhalski created his first COVID-19: Labor Camp Report. What started as a single drawing slowly morphed into a daily practice, a way to reconcile and record the thoughts, feelings, and change being wrought in the world. These ink drawings and hand-lettered texts were shared daily by Szyhalski on Instagram, poignantly capturing our politically fraught and painful landscape over the course of 225 days. Accompanied by powerful captions by the artist, the series operates as both a witness to the current crisis and a container of time, time that is both labored and lost. These daily dispatches, shared with thousands via social media platforms, serve as a way of witnessing, processing, and recording the complexities of life during the first eight months of the global COVID-19 pandemic. At times harsh and confrontational, other times quiet and contemplative, the Reports map multiple layers of interwoven historical phenomena: from the global health crisis, economic inequities, and the uprising following the murder of George Floyd by Minneapolis police to environmental catastrophes and the waning days of the autocratic regime in the United States.","","","From ","Gift of funds from Mary and Bob Mersky","2021.1.1-225","Artist: Piotr Szyhalski / Labor Camp","Artist","American (born Poland)","Ameircan (born Poland), born 1967","%C2%A9 Piotr Szyhalski %2F Labor Camp","Global Contemporary Art","In Copyright","valid",3691,1825,1,"1",1,,,"[""140039"",""140222"",""140223"",""140224"",""140225"",""140226"",""140227"",""140228"",""140229"",""140230"",""140231"",""140232"",""140233"",""140234"",""140235"",""140236"",""140237"",""140238"",""140239"",""140240"",""140241"",""140242"",""140243"",""140244"",""140245"",""140246"",""140247"",""140248"",""140249"",""140250"",""140251"",""140252"",""140253"",""140254"",""140255"",""140256"",""140257"",""140258"",""140259"",""140260"",""140261"",""140262"",""140263"",""140264"",""140265"",""140266"",""140267"",""140268"",""140269"",""140270"",""140271"",""140272"",""140273"",""140274"",""140275"",""140276"",""140277"",""140278"",""140279"",""140280"",""140281"",""140282"",""140283"",""140284"",""140285"",""140286"",""140287"",""140288"",""140289"",""140290"",""140291"",""140292"",""140293"",""140294"",""140295"",""140296"",""140297"",""140298"",""140299"",""140300"",""140301"",""140302"",""140303"",""140304"",""140305"",""140306"",""140307"",""140308"",""140309"",""140310"",""140311"",""140312"",""140313"",""140314"",""140315"",""140316"",""140317"",""140318"",""140319"",""140320"",""140321"",""140322"",""140323"",""140324"",""140325"",""140326"",""140327"",""140328"",""140329"",""140330"",""140331"",""140332"",""140333"",""140334"",""140335"",""140336"",""140337"",""140338"",""140339"",""140340"",""140341"",""140342"",""140343"",""140344"",""140345"",""140346"",""140347"",""140348"",""140349"",""140350"",""140351"",""140352"",""140353"",""140354"",""140355"",""140356"",""140357"",""140358"",""140359"",""140360"",""140361"",""140362"",""140363"",""140364"",""140365"",""140366"",""140367"",""140368"",""140369"",""140370"",""140371"",""140372"",""140373"",""140374"",""140375"",""140376"",""140377"",""140378"",""140379"",""140380"",""140381"",""140382"",""140383"",""140384"",""140385"",""140386"",""140387"",""140388"",""140389"",""140390"",""140391"",""140392"",""140393"",""140394"",""140395"",""140396"",""140397"",""140398"",""140399"",""140400"",""140401"",""140402"",""140403"",""140404"",""140405"",""140406"",""140407"",""140408"",""140409"",""140410"",""140411"",""140412"",""140413"",""140414"",""140415"",""140416"",""140417"",""140418"",""140419"",""140420"",""140421"",""140422"",""140423"",""140424"",""140425"",""140426"",""140427"",""140428"",""140429"",""140430"",""140431"",""140432"",""140433"",""140434"",""140435"",""140436"",""140437"",""140438"",""140439"",""140440"",""140441"",""140442"",""140443"",""140444"",""140445"",""140446"",""140453""]","media",0.11220123,,,,,,,,,,,,,,,,,,,,,,, "119368","then as when","Gouache, charcoal, collage and beeswax on various papers"," Drawings; Collages / Assemblages; Works on Paper","45 1/8 × 21 5/8 in. (114.62 × 54.93 cm) (irregular) 48 × 24 1/2 × 1 1/2 in. (121.92 × 62.23 × 3.81 cm) (outer frame)","Drawing and collage","North America","United States",,"1988","Not on View","20th century","","LRC, in pencil: 1988 Steven Sorman / then as when","","For Steven Sorman, drawing demands an orchestration of diverse processes and media. His multifaceted approach blends rich color, sinuous lines, fluid shapes, and an instinctive sense of compositional rhythm to create abstractions that are unabashedly ornamental and visually alluring. He often employs collage techniques to emphasize the materiality and surface qualities of his mixed-media drawings, such as integrating fine Japanese and handmade papers as organizational elements. Despite their complexity, his drawings possess an aesthetic and compositional harmony that often expresses a sense of serenity, allowing the eye and mind to experience form, color, and material independent of narrative or representation.","upper half is primarily blue, red, blue-green and black; abstract design on three pieces of paper; lower half is black/grey (charcoal?); curved shapes with one rectangle of paper on bottom with same colors as upper half","The artist; [Flanders Contemporary , Minneapolis, sold to Root]; Michael and Tamara Root, Minneapolis (2005-2014); given to MIA, 2014.","From ","Gift of Tamara and Michael Root","2014.12.3","Artist: Steven Sorman","Artist","American","American, born 1948","%C2%A9 1988 Steven Sorman","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""""]","media",0.10800513,,,,,,,,,,,,,,,,,,,,,,, "72658","Acorus Calamus, from Icones Plantarum Medicinalium","Hand-colored engraving and gouache"," Prints","17 1/8 x 12 in. (43.5 x 30.48 cm) (plate)",,"Europe","Austria",,"1788 (?)","Not on View","18th century"," ",""," ","","Tab. 27?","","From Icones Plantarum Medicinalium, (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,102","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.104323216,,,,,,,,,,,,,,,,,,,,,,, "79400","Art Medieval du Barry. Vitraux Sculptures. 12 Juillet-23 Septembre 68","Color screenprint"," Prints","30 1/2 x 22 9/16 in. (77.47 x 57.31 cm) (sheet)","Poster","Europe","France",,"1968","Not on View","20th century","","","","","black, white, red, and blue Christian stained glass image at center with white text top and bottom","Michael and Rosalyn Baker, Minneapolis; given to MIA, 2003.","From ","Gift of Michael and Rosalyn Baker","2003.219.27","Publisher: Maison de la Culture de Bourges, Bourges, France","Artist",,,"","Prints and Drawings","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.104323216,,,,,,,,,,,,,,,,,,,,,,, "139072","Sun proof at state with medium yellow, dark orange, and red","Ukiyo-e woodcut on Mulberry"," Prints","12 x 11 in.","Proof","North America","United States",,"2010","Not on View","21st century","","","","","Here and Now: Re-View, Re-Think, i≠i","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.58.1.2","Artist: Kinji Akagawa","Artist","American (born Japan)","American (born Japan), 1940","","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""137372"",""139072""]","media",0.104323216,,,,,,,,,,,,,,,,,,,,,,, "139063","Sun proof at state with medium yellow, and dark orange","Ukiyo-e woodcut on Mulberry"," Prints","11 x 12 in.","Proof","North America","United States",,"2010","Not on View","21st century","","","","","Here and Now: Re-View, Re-Think, i≠i","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.58.1.1","Artist: Kinji Akagawa","Artist","American (born Japan)","American (born Japan), 1940","","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""137372"",""139063""]","media",0.104323216,,,,,,,,,,,,,,,,,,,,,,, "81772","Shrine to Martyrs of the Revolution, Beheshtezara","Gelatin silver print"," Photographs","11 1/2 x 17 7/16 in. (29.21 x 44.29 cm) (image) 14 3/16 x 19 7/8 in. (36.04 x 50.48 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","","From ","The Fiduciary Fund","86.26.5","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2797,1830,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "82402","Burial, Tabriz","Gelatin silver print"," Photographs","17 1/4 x 11 9/16 in. (43.82 x 29.37 cm) (image) 19 7/8 x 14 in. (50.48 x 35.56 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","","From ","The Fiduciary Fund","86.26.54","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",1769,2661,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "82393","Posters in Front of the U.S. Embassy, Teheran","Gelatin silver print"," Photographs","11 9/16 x 17 5/16 in. (29.37 x 43.97 cm) (image) 14 3/16 x 19 7/8 in. (36.04 x 50.48 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","","From ","The Fiduciary Fund","86.26.40","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2702,1781,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "82395","Peasants Arriving at a Protest in Front of the U.S. Embassy, Teheran","Gelatin silver print"," Photographs","11 3/8 x 17 7/16 in. (28.89 x 44.29 cm) (image) 14 3/16 x 19 7/8 in. (36.04 x 50.48 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","","From ","The Fiduciary Fund","86.26.42","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2617,1725,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "82411","Pro-Khomeini Meeting,Tabriz","Gelatin silver print"," Photographs","11 11/16 x 17 7/8 in. (29.69 x 45.4 cm) (image) 14 3/16 x 19 7/8 in. (36.04 x 50.48 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","","From ","The Fiduciary Fund","86.26.63","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2683,1762,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "3499","Demonstration in a Stadium, Tabriz","Gelatin silver print"," Photographs","11 11/16 x 17 15/16 in. (29.69 x 45.56 cm) (image) 13 15/16 x 19 15/16 in. (35.4 x 50.64 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","",,"The Fiduciary Fund","86.26.12","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2885,1893,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "3504","Pro-Shariatmadari Demonstration, Tabriz","Gelatin silver print"," Photographs","11 9/16 x 17 5/16 in. (29.37 x 43.97 cm) (image) 14 3/16 x 19 7/8 in. (36.04 x 50.48 cm) (sheet)","Photograph","Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","",,"The Fiduciary Fund","86.26.44","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2782,1840,1,"1",0,,,"[""25142"",""3504""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "10743","Takeover of Television Station, Tabriz","Gelatin silver print"," Photographs","11 7/8 x 17 7/8 in. (30.16 x 45.4 cm) (image) 14 x 19 7/8 in. (35.56 x 50.48 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","",,"The Fiduciary Fund","86.26.8","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2787,1816,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "82396","Savak Agents on Trial at Evin Prison, Teheran","Gelatin silver print"," Photographs","11 15/16 x 18 in. (30.32 x 45.72 cm) (image) 14 1/4 x 19 7/8 in. (36.2 x 50.48 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","",,"The Fiduciary Fund","86.26.43","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2764,1829,1,"1",0,,,"[""""]","media",0.09736457,,,,,,,,,,,,,,,,,,,,,,, "81768","Victims of Shah and CIA on a Signboard at U. S. Embassy, Teheran","Gelatin silver print"," Photographs","11 7/16 x 17 7/16 in. (29.05 x 44.29 cm) (image) 14 1/4 x 19 7/8 in. (36.2 x 50.48 cm) (sheet)",,"Europe","France",,"c. 1980","Not on View","20th century","","","","From November 1979 to January 1981, a group of Iranian students, occupied the US Embassy in Teheran and held hostage 52 US diplomats and citizens. The take-over was part of the Iranian Revolution (1979-1980) in which a pro-Western monarchy was replaced with an anti-Western authoritarian Islamic leader. The French photographer Gilles Peress traveled in Iran for five weeks during the hostage crisis. Not as a magazine assignment, but as a personal pursuit, he took photographs to understand the country and its people. Peress said the US media was presenting Iranian revolutionaries as ""fanatics jumping out of the television screen, knife between their teeth, red eyes demanding justice."" He later published Telex Iran: In the Name of Revolution (1983), also on view here, which consists of the photographs taken during the period. However, the book forms neither a study nor an analysis of that event. Peress does not claim that his photographs tell the story of the revolution, but they are the record of his perceptions and encounters, as he moved through the city and the countryside of a nation in upheaval. [220] “I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I'm gathering evidence for history, so that we remember.” Gilles Peress, 1997","","","From ","The Fiduciary Fund","86.26.2","Photographer: Gilles Peress","Artist","French","French, born 1946","%C2%A9 Gilles Peress%2FMagnum Photos","European Art","In Copyright","valid",2799,1840,1,"1",0,,,"[""""]","media",0.09681395,,,,,,,,,,,,,,,,,,,,,,, "8902","Prince de Joinville welcomed by an English admiral aboard a British frigate","Gouache on paper"," Drawings","23 x 28 1/4 in. (58.42 x 71.76 cm)","Drawing","Europe","France",,"1934–35","Not on View","20th century","Signature","Bottom right of center, in graphite: Raoul Dufy","","The French Fauvist painter Raoul Dufy produced cheerful, colorful paintings and gouaches in the first-half of the twentieth century, often favoring scenes of fashionable women, uniformed officers, and summer holidays at the beach. This drawing was inspired by a work now lost by the 19th-century French artist and journalist Constantin Guys (1805–1892). In the age before photography, the press employed artists to illustrate current events in their publications. This scene represents Prince de Joinville (1818–1900), the third son of King Louis-Philippe I of France who was admiral in the French navy, embarking on an English ship. It may represent the prince's 1843 trip to England, when he traveled with his new wife Princess Francisca of Brazil to meet Queen Victoria. Guys was living in England at this time, working for the ""Illustrated London News"" and ""Punch."" There is a larger related painting by Dufy, which was formerly in the collection of Gérard Oury. That work features the United Kingdom's standard Union Jack flag, whereas the Minneapolis gouache appears to feature the Queensland Separation Flag, a colony of the British Empire from 1859–1901. Dufy executed his homage to the lost work almost a century later, in 1934 or 1935. Dufy sought inspiration in the history of art throughout his career, producing works that were not copies but tributes to the artists he admired. There are some four works of different media and size related to Guy’s Prince de Joinville picture.","","Ruth and Nathan Cummings Art Foundation, New York; given to MIA, 1958.",,"Gift of Ruth and Nathan Cummings Art Foundation","58.22","Artist: Raoul Dufy; Artist: after Constantin Guys","Artist","French","French, 1877-1953","","European Art","Public Domain","valid",8633,6635,0,"1",1,,"Conservation cost: $6,105 The French Fauvist painter Raoul Dufy produced cheerful, colorful pictures of life in Paris in the first half of the 1900s, often favoring scenes of fashionable women, uniformed officers, and summer holidays at the beach. Given to the museum in 1958, this gouache has never been exhibited due to its fragile state. There is extensive flaking throughout the work and risk of further cracking and losses. The unstable pigment must be carefully consolidated. This is a painstaking, time-consuming process in which the conservator works under magnification to stabilize each crack, using a consolidant to adhere all of the loose gouache to the paper support. The work has been in dark storage for 60 years so the colors are extremely fresh. Once consolidated, the gouache will be stable enough to exhibit once again. Contact the Prints and Drawings Department at printstudy@artsmia.org or (612) 870-3113 to Champion this artwork.","[""""]","media",0.09626333,,,,,,,,,,,,,,,,,,,,,,, "116191","6EQUJ5","Digital projection"," Digital Art; Time-based Media","Variable","Animation","North America","United States",,"2012-2013","Not on View","21st century","","on each numbered master disc, in black marker: Jennifer Steinkamp / 13","","Jennifer Steinkamp was born in 1958 in Denver, Colorado, and spent much of her childhood in Edina, Minnesota. In 1979, she moved to Los Angeles to attend the Art Center College of Design, and later the California Institute of the Arts, where she studied experimental animation. She worked for a time in industrial film, which allowed her to experiment with new digital technologies not yet being taught in art schools. She is currently a professor in the department of Design Media Arts at UCLA. Armed with the latest advancements in new digital technologies, Steinkamp began to employ 3-D digital animation in her artwork in order to transform architectural spaces. Her early projections tended towards brightly colored abstractions; since 2003 she has increasingly incorporated nature-based imagery into her work. Through these highly realistic, digitally animated images, the artist creates illusionistic spaces within which the viewer becomes physically and perceptually absorbed. The title of this work, 6QUEJ5, comes from a signal scanned by one of the world’s most powerful radio telescopes that suggested the existence of extra-terrestrial intelligence. The artist has created what she calls “intelligent asteroids” by inscribing them with etched drawings and paintings that could be attributed to life on other planets and other theories of the universe. According to Steinkamp, she uses “natural forms because the motion can be so intriguing... Motion can touch you on an emotional and physical level in a timeless way.” As it happens, the subject of asteroids is particularly relevant of late as news of their relative proximity to earth has gained global attention.","floating multicolored rocks/metors; four separate videos (#1, 2, 4, 5)","","From ","Gift of funds from Beverly Grossman and Sheila Morgan","2013.19","Artist: Jennifer Steinkamp","Artist","American","American, born 1958","%C2%A92013 Jennifer Steinkamp","Global Contemporary Art","In Copyright–Educational Use","valid",3573,4102,0,"1",1,,,"[""""]","media",0.09564871,true,,,,,,,,,,,,true,,,,,,,,,, "137392","Useless Wonder Map #1","Relief print from laser-engraved acrylic templates"," Prints","39 1/2 × 52 1/2 in. (100.33 × 133.35 cm) (sheet)","Print","North America","United States",,"2010","Not on View","21st century","","LRC in pencil: C. Amorales 2010 | BC in pencil: Useless Wonder Map #1","LLC in pencil: ARCHIVAL 1/2 | Publisher\'s blindstamp, LLC: HP","Carlos Amorales was born in Mexico City, where he lives and works today. After spending part of his childhood in London, he moved to Amsterdam, where he attended the Gerrit Rietveld Academie and the Rijksakademie van Beeldende Kunsten. He works in almost every conceivable medium, including painting, sculpture, installation, photography, collage, and performance. His themes range from natural wonders to professional wrestling to totemic imagery. Throughout his work, one has a strong sense of many parts making up a complete entity. His work has been the subject of about 60 solo exhibitions over the past decade. ""Useless Wonder"" has been a major concept in his work for the past five years or more. The present series of maps are closely associated with a series of works in different media during 2006-2007. Each of these showed a silhouette map of the world, but in some cases the countries were scrambled over the surface of the image. They encompassed painting, drawing, collage, and textiles. In 2010, Amorales began a very fruitful collaboration with Cole Rogers of Highpoint Editions. Together they have revisited several of Amorales's key motifs, including the maps. A central aspect of their working method is the use of plastic silhouettes that Amorales designs and then has laser cut from sheets of sturdy plastic-similar to that commonly used for protractors and French curves. For the ""Useless Wonder Maps,"" he produced plastic templates representing the countries of the world. These were then arranged, inked, and printed in four different configurations, in an edition of seven each. One configuration shows the world much as we would expect to see it on a Mercator map, except that it has been jiggled and everything is somewhat out of alignment. In the other three images, the countries are more radically displaced. Dislocated from their usual contexts, some of the countries become nearly unrecognizable. Certainly they are ""Useless"" as maps, but the prints are a cause of ""Wonder."" They prompt one to think of the un","One of four maps of the world relief printed from laser-engraved Plexiglas mounted on masonite in solid black with the countries dislocated from their normal placements, often overlapping.","Highpoint Editions, Minneapolis (publisher); sold to MIA, 2020.","From Useless Wonder Maps","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2020.85.7.1","Artist: Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis","Artist","Mexican","Mexican, born 1970","Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",7350,5700,0,"1",0,,,"[""137392"",""139080"",""139081"",""139092"",""139093"",""139109"",""139120"",""139132"",""139143"",""139154"",""139168"",""139179"",""139199"",""139685"",""139686"",""139687"",""139688"",""139689"",""139721"",""139722"",""139723"",""139724"",""139735"",""139736"",""139737"",""139738"",""139739"",""139740"",""139741"",""139742"",""139743"",""139744"",""139745"",""139746"",""139747"",""139748"",""139749"",""139750"",""139751"",""139752"",""139753"",""139754"",""139755"",""139756"",""139757"",""139758"",""139759"",""139760"",""139761"",""139762"",""139763"",""139799"",""139800"",""139811"",""139812"",""139823"",""139824"",""139835"",""139836""]","media",0.09372964,,,,,,,,,,,,,,,,,,,,,,, "2976","Charles Chaplin, Actor","Gelatin silver print (printed 1970)"," Photographs","17 9/16 x 23 15/16 in. (44.61 x 60.8 cm) (image) 19 15/16 x 23 15/16 in. (50.64 x 60.8 cm) (sheet)",,"North America","United States",,"1952","Not on View","20th century","","","","Known for his character, ""The Little Tramp,"" English-born Sir Charles Spencer Chaplin (1889-1977) was a founder of United Artists Corporation and an international star. He left the United States the year this portrait was made and did not return for twenty years, when he accepted a special Academy Award. This image is from a group of eleven prints in the ""Minneapolis Portfolio,"" which Avedon produced in 1970 on the occasion of his exhibition at the Minneapolis Institute of Arts. The show included photographs of Marilyn Monroe and Dwight D. Eisenhower, among others. Avedon said about this work, ""I want to make portraits as intense as people. I want your intensity to pass into me, go through the camera and become a recognition to a stranger."" Unlike the sharp focus maintained by August Sander, Avedon chose to use a blurred image for Chaplin's portrait. Chaplin's grin may be seen as a devilish reference to his self-imposed horns, a clever reflection of the American media's disapproval of his bohemian lifestyle. Notice how neutral backgrounds and even lighting allows Avedon's portraits of Chaplin and Buster Keaton to pop.","","","From ""The Minneapolis Portfolio""","The Christina N. and Swan J. Turnblad Memorial Fund","81.94.1","Photographer: Richard Avedon; Publisher: Richard Avedon","Artist","American","American, 1923-2004","Photograph by Richard Avedon %C2%A9The Richard Avedon Foundation","Arts of the Americas","In Copyright","valid",5681,4752,1,"1",0,,,"[""""]","media",0.090129144,,,,,,,,,,,,,,,,,,,,,,, "18931","Small Red-crested Bird with Three Other Medium-sized Birds","Gouache, watercolor over graphite"," Drawings","16 3/4 x 12 1/2 in. (42.55 x 31.75 cm) (image) 21 3/16 x 15 3/16 in. (53.82 x 38.58 cm) (sheet)",,"Europe","France (?)",,"late 17th-early 18th century","Not on View","17th-18th century","Mark","","Fleur-de-lis within a shield surmounted by a crown (Same as 66.25.155 and .159--not identified), on watermark","","","Dwight and Helen Minnich","From ","The Minnich Collection The Ethel Morrison Van Derlip Fund","66.25.156","Artist: Unknown; Artist: after Claude Aubriet","Artist","French","French, 1665-1742","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "18932","Golden-crested Kinglet with Three Medium-sized Birds","Gouache, watercolor (over black chalk?)"," Drawings","17 1/2 x 13 1/4 in. (44.45 x 33.66 cm) (image) 21 3/16 x 15 1/4 in. (53.82 x 38.74 cm) (sheet)",,"Europe","France (?)",,"late 17th-early 18th century","Not on View","17th-18th century","","","","","","Dwight and Helen Minnich","From ","The Minnich Collection The Ethel Morrison Van Derlip Fund","66.25.157","Artist: Unknown; Artist: after Claude Aubriet","Artist","French","French, 1665-1742","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "75968","Medieval Court, from Dickinson's Comprehensive Pictures/ of/ The Great Exhibition/ of/ 1851","Hand-colored lithograph"," Prints","16 1/2 x 19 1/2 in. (41.91 x 49.53 cm) (image)","Print","Europe","England",,"1854","Not on View","19th century"," ",""," ","","","","From Dickinson's Comprehensive Pictures of The Great Exhibition of 1851","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.17,011","Artist: Louis Haghe; Publisher: Dickinson Brothers, Her Majesty's Publishers","Artist","British (born Belgium)","British (born Belgium), 1806 - 1885","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "75278","No. 40. Mediterraneum Mare, ""Flugblatter"", or Broadside, from Representatio Belli ob successionem in Regno Hispanico...","Color engraving"," Prints","17 1/2 x 14 5/8 in. (44.45 x 37.15 cm) (plate)",,"Europe","Germany",,"18th century","Not on View","18th century","","","","","","","From Representatio Belli ob successionem in Regno Hispanico...","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.14,518","Artist: Paul Decker; Publisher: Jeremias Wolff; Printer: Johann August Corvinus","Artist","German","German, 1677 - 1713","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "68539","Compagnie Generale Transatlantique - Atlantique - Pacific - Mediterranee - 1855 - 1955","Color lithograph, mounted on linen"," Prints","39 1/2 x 24 3/8 in. (100.33 x 61.91 cm) (sheet)","Poster","Europe","France",,"1955","Not on View","20th century","Signature","Signed on the stone, LR: [Paul Colin]","","","","Marguerite and Russell Cowles, Minneapolis","From ","Gift of Marguerite and Russell Cowles","P.79.82.1","Artist: Paul Colin","Artist","French","French, 1892 - 1985","%C2%A9 Paul Colin %2F Artists Rights Society %28ARS%29%2C New York","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "72639","Scilla Maritima L. / Der meersträndische Meerzwiebel from Icones plantarum medicinalium","Hand-colored engraving"," Prints","17 1/4 x 12 1/4 in. (43.82 x 31.12 cm) (plate) 18 1/8 × 12 9/16 in. (46.04 × 31.91 cm) (sheet)","Print","Europe","Austria",,"1788-1812","Not on View","18th-19th century"," ",""," ","","Tab. 271","","From Icones plantarum medicinalium (Vienna, 1788-1812)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.18,097","Author: Joseph Jakob Plenck","Artist","Austrian","Austrian, 1738–1807","","Prints and Drawings","Public Domain","invalid","","",0,"1",0,"Dunthorne 225; Nissen 1536",,"[""""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "139075","Sun proof at state with medium yellow, dark orange, red, dark red, red, and very dark red","Ukiyo-e woodcut on Mulberry"," Prints","11 3/4 x 11 3/4 in.","Proof","North America","United States",,"2010","Not on View","21st century","","","","","Here and Now: Re-View, Re-Think, i≠i","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.58.1.5","Artist: Kinji Akagawa","Artist","American (born Japan)","American (born Japan), 1940","","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""137372"",""139075""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "139074","Sun proof at state with medium yellow, dark orange, red, dark red, and red","Ukiyo-e woodcut on Mulberry"," Prints","11 x 11 3/4 in.","Proof","North America","United States",,"2010","Not on View","21st century","","","","","Here and Now: Re-View, Re-Think, i≠i","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.58.1.4","Artist: Kinji Akagawa","Artist","American (born Japan)","American (born Japan), 1940","","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""137372"",""139074""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "139396","Green collé lithographic test, dark green on medium green","Lithography on gampi"," Prints","10 1/8 x 8 1/8 in.","Test Proof","North America","United States",,"2016","Not on View","21st century","","","","","ɹǝɯɯnS ɟo","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.58.209.28","Artist: Jim Hodges","Artist","American","American, born 1957","","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""137498"",""137499"",""137500"",""137501"",""139396"",""142455"",""142456"",""142457"",""142458""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "139073","Sun proof at state with medium yellow, dark orange, red, and dark red","Ukiyo-e woodcut on Mulberry"," Prints","12 x 12 in.","Proof","North America","United States",,"2010","Not on View","21st century","","","","","Here and Now: Re-View, Re-Think, i≠i","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.58.1.3","Artist: Kinji Akagawa","Artist","American (born Japan)","American (born Japan), 1940","","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""137372"",""139073""]","media",0.08775648,,,,,,,,,,,,,,,,,,,,,,, "89843","Vessel","Clay, pigments"," Ceramics","9 1/8 x 10 3/8 x 5 1/4 in. (23.18 x 26.35 x 13.34 cm)","Vessel","North America","United States","Ugahxpa (Quapaw)","c. 1500","Not on View","15th-16th century","","","","The prominent colored swirls and eye motifs mark this animal as an Underwater Panther, one of the primary beings in the ancient Mississippian belief system and that of their descendants. The swirling pattern on its sides signifies water, while the eye markings allude to the animal's unusually keen vision. Red and white were symbolically significant colors that represented fundamental oppositions such as peace and war, light and dark and the on-going struggle between the celestial and subterranean realms. Underwater Panthers belonged to the subterranean and possessed great supernatural power. Their significance led Mississippian and subsequent artists to depict them frequently in many forms and media, including three-dimensional sculptures like this vessel.","dog shape, with rounded body; thick, tapered tube-shaped tail; small head with large, protruding teeth; small, upright pointed ears; light orange, dark orange and white pigment designs","",,"The William Hood Dunwoody Fund","2004.33","","Artist",,,"","Arts of the Americas","Public Domain","restricted",3568,3400,0,"1",1,,,"[""""]","media",0.077813014,,true,,,,,,,,,,,,,,,,,,,,, "6986","Pitcher","Stoneware with metallic-lustre glaze"," Ceramics","13 1/4 x 3 1/2 in. (33.66 x 8.89 cm)","Pitcher","Europe","France",,"c. 1900","Not on View","Art Nouveau","","","KG / Luneville (with Bussière signature)","At the turn of the 20th century, French ceramists working in the eastern city of Nancy adopted the naturalistic idiom which they faithfully rendered in a wide variety of media. Ernest Bussière studied at the Ecole des Beaux Arts, first in Nancy and then Paris, before returning to Nancy as a modeling instructor. Working with the Lunèville ceramic firm of Keller and Guérin, Bussière produced a series of vases with organic forms in metal-tinted stoneware, first exhibited in the grand 1900 Paris Universal Exposition. Inspired by his surrounding countryside, Bussière applied motifs of local foliage to his highly sculptural forms. This iridescent pitcher is clothed in a naturalism that subtly disguises its function as a pouring vessel.","Green leaf decoration","","From ","The Modernism Collection, gift of Norwest Bank Minnesota","98.276.211","Designer: Ernest Bussière; Manufacturer: Keller and Guérin","Artist","French","French, 1863-1913","","Decorative Arts, Textiles and Sculpture","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.07539814,,,,,,,,,,,,,,,,,,,,,,, "112620","Chris Nkulo and Patience Umeh, Enugu, Nigeria","Digital C-print"," Photographs","60 x 60 in. (152.4 x 152.4 cm) (image, approx.) 68 x 68 in. (172.72 x 172.72 cm) (sheet, approx.) 70 1/2 x 70 1/2 in. (179.07 x 179.07 cm) (outer frame)","Photograph","Africa","South Africa",,"2008","Not on View","21st century","","","on back of frame: dealer\'s label","Growing up at the end of apartheid, Pieter Hugo came of age during a period in which photographers sought to depict the political and social reality of South Africa. In the context of South Africa's recent history of colonial, apartheid, and post-apartheid conflict, which has inspired outstanding documentary photography over the years, Hugo's focus is intentionally provocative. His work moves towards a charged form of cultural realism that challenges many assumptions about South Africa today. Although the title of this work provides the name of its subjects, Chris Nkulo and Patience Umeh, it doesn't explain that they are Nollywood actors in full make-up and costume. According to a 2009 UNESCO report, Nollywood Nigerian cinema is the third largest film industry in the world after Hollywood and Bollywood. Nollywood movies are released quickly and cheaply, employing local actors and low budgets. Plots are dramatically macabre and often blend everyday events with supernatural elements. Many of the narratives are drawn from local symbolic imagery and traditional storytelling. For this photograph, as for the others in the Nollywood series, Hugo asked actors to recreate scenes and characters inspired by typical films. The resulting images are utterly surreal and, like the movies, toy with the distinction between fantasy and reality. Hugo's subjects confront us on their own terms, staring the viewer down. At the same time, their portrayal feels uncomfortably exploitative in its play on the Western media's often naïve or negative portrayals of Africa.","black couple seated on a concrete bench in front of a chain link fence; woman at right wears a long dress with long sleeves, with an appliqué design with cut-outs of green flowers and gold-veined leaves, black and white beaded necklace and earrings and a black and silver headscarf, with a red purse next to her; man at left dressed as a devil, with black body paint, long black fingernails and four horns on his head, wearing a shiny black skirt-like garment","(Yossi Milo Gallery, New York); sold to MIA, 2011.","From ","The Mr. and Mrs. Bernard M. Granum Fund","2011.54.1","Photographer: Pieter Hugo","Artist","South African","South African, born 1976","%C2%A9 2008 Pieter Hugo. All rights reserved.","Global Contemporary Art","In Copyright","valid",4355,4368,1,"1",0,,,"[""""]","media",0.07407243,,,,,,,,,,,,,,,,,,,,,,, "139076","Sun proof at state with medium yellow, dark orange, red, dark red, red, very dark red, and black","Ukiyo-e woodcut on Mulberry"," Prints","11 3/4 x 11 3/4 in.","Proof","North America","United States",,"2010","Not on View","21st century","","","","","Here and Now: Re-View, Re-Think, i≠i","","From ","Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund","2021.58.1.6","Artist: Kinji Akagawa","Artist","American (born Japan)","American (born Japan), 1940","","Arts of the Americas","In Copyright","invalid","","",1,"1",1,,,"[""137372"",""139076""]","media",0.07118974,,,,,,,,,,,,,,,,,,,,,,, "71749","Arum Ceylanicum Humile Latifolium, Pistillo Coccineo from Horti medici Amstelodamensis rariorum Plantarum descriptiones et icones","Engraving"," Prints","15 13/16 × 10 in. (40.16 × 25.4 cm) (sheet)","Print","Europe","The Netherlands",,"1697-1701","Not on View","17th-18th century"," ",""," ","","Fig. 51","","From Horti medici Amstelodamensis rariorum Plantarum descriptiones et icones, 2 volumes (Amsterdam, 1697-1701)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.17,693","Artist: Jan Commelin","Artist","Dutch","Dutch, 1629–1692","","European Art","Public Domain","invalid","","",0,"1",0,"Nissen 389; Dunthorne 81",,"[""""]","media",0.07118974,,,,,,,,,,,,,,,,,,,,,,, "71746","Arum Aethiopicum Flore Albo, Odorato from Horti medici Amstelodamensis rariorum Plantarum descriptiones et icones","Engraving"," Prints","15 13/16 × 10 in. (40.16 × 25.4 cm) (sheet)","Print","Europe","The Netherlands",,"1697-1701","Not on View","17th-18th century"," ",""," ","","Fig. 50","","From Horti medici Amstelodamensis rariorum Plantarum descriptiones et icones, 2 volumes (Amsterdam, 1697-1701)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.17,692","Artist: Jan Commelin","Artist","Dutch","Dutch, 1629–1692","","European Art","Public Domain","invalid","","",0,"1",0,"Nissen 389; Dunthorne 81",,"[""""]","media",0.07118974,,,,,,,,,,,,,,,,,,,,,,, "71742","Aloe Arborescens Africana from Horti medici Amstelodamensis rariorum Plantarum descriptiones et icones","Engraving"," Prints","15 13/16 × 10 in. (40.16 × 25.4 cm) (sheet)","Print","Europe","Netherlands",,"1697-1701","Not on View","17th-18th century"," ",""," ","","Fig. 49","","From Horti medici Amstelodamensis rariorum Plantarum descriptiones et icones, 2 volumes (Amsterdam, 1697-1701)","The Minnich Collection The Ethel Morrison Van Derlip Fund, 1966","P.17,691","Artist: Jan Commelin","Artist","Dutch","Dutch, 1629–1692","","European Art","Public Domain","invalid","","",0,"1",0,"Nissen 389; Dunthorne 81",,"[""""]","media",0.07118974,,,,,,,,,,,,,,,,,,,,,,, "120671","Untitled (Berries and clams)","Oil, ink, mixed media, and collage on paper"," Collages / Assemblages; Works on Paper","69 11/16 × 47 3/16 in. (177.01 × 119.86 cm) 76 × 53 1/4 × 2 11/16 in. (193.04 × 135.26 × 6.83 cm) (outer frame)","Collage","Europe","England",,"2003","Not on View","21st century","LLC, in blue: [berries]; LRC, in blue: [and clams]","LRC, in pencil: Walker","","John Walker’s mixed-media collage is a complex interplay of forms, words, and spatial elements that draws on both abstract and representational imagery for its visual and conceptual content. Inspired by his observations of the land and sea near his Seal Point studio on the coast of Maine, the collage invokes a perceptual ambiguity that is at once subjective and associative, leaving the viewer to determine its meaning through the lens of personal experiences and memories. Long associated with painterly abstraction, Walker emphasizes process and materiality to connect his pictures’ synthetic realm with that of nature, here inserting a text fragment—“bones and clams”—as a formal and symbolic device that focuses attention on the marine source of his imagery. Like much of his work, the collage possesses an immediacy and intimacy that reveals Walker’s lyrical and poetic inclinations.","Paper collage; abstract image with painterly brushstrokes of color--predominately reds and blues; brown along right edge; ovoid red element at bottom center; received framed, not glazed","The artist; [Knoedler & Co., New York; sold to Mersky]; Robert B. Mersky, Minneapolis; given to MIA, 2014.",,"Gift of Mary and Bob Mersky","2014.141.3","Artist: John Walker","Artist","British (active United States)","British (active United States), born 1939","%C2%A9 John Walker %2F Bridgeman Copyright","European Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06789274,,,,,,,,,,,,,,,,,,,,,,, "109252","Tom Clark","Acrylic and collage on canvas"," Paintings","40 1/4 x 36 in. (102.24 x 91.44 cm) (canvas)","Painting",,,,"c. 1968","Not on View","20th century","","","","George Schneeman’s portrait of poet Tom Clark is one of many collaborations between the artist and a creative writer. Schneeman, popular among an intimate crowd of New York poets in the 60’s and 70’s, often used his friends as subjects for his paintings. Other times, he and poets would create works of art together, making mixed media pieces that blurred the boundaries between visual and verbal art. Tom Clark is a beautiful portrait of a friend as well as an interesting play on traditional portraiture. Schneeman was heavily influenced by early Italian Renaissance art and often incorporated materials and techniques from the period into his work. In this painting, Tom strikes a very traditional pose, but maintains his identity.","upper half of man wearing lavender jacket, aqua blue shirt and floral tie; ""PALL"" to L of head; flat silver area on L; unframed","",,"Gift of Katie Schneeman","2010.104","Artist: George Schneeman","Artist","American","American, 1934 - 2009","%C2%A9 Estate of George Schneeman","Global Contemporary Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06736978,,,,,,,,,,,,,,,,,,,,,,, "128512","Lai da Palpuogna, 1918 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lai da Palpuogna / 1918 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.13","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128513","Lagetto Moésola, 2062 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lagetto Moésola / 2062 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.14","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128504","Seeli bei den Stotzigen Firsten, 2641 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Seeli bei den Stotzigen Firsten / 2641 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.4","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128594","Lac le Bayenna, 2546 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac le Bayenna / 2546 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.95","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128533","Klöntalersee, 848 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Klöntalersee / 848 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.34","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128632","Unter Prätchsee, 1910 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Unter Prätchsee / 1910 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.133","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128621","Häreseeli, 2464 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Häreseeli / 2464 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.122","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128610","Schwellisee, 1933 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Schwellisee / 1933 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.111","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128520","Totesee, 2150 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Totesee / 2150 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.21","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128902","Year of the Rat","Oil stick, encaustic on vintage Indian paper, installed over wallpaper backdrop"," Drawings; Works on Paper","86 3/4 × 118 1/8 in. (220.35 × 300.04 cm)","Wall installation","North America","United States",,"2018","Not on View","21st century","","a, f, and i in LRC, in pencil: J. Pfaff \'18 | b, c, e, g, h, LRC, in black ink: J. Pfaff \'18","a-j, 3 gallery lables in ULC on back | a-j placement label on back in center","Judy Pfaff is a contemporary artist with a wide-ranging practice that includes installations (sometime on an enormous scale), sculpture, painting, and printmaking. Year of the Rat is a multipart wall installation, including 10 mix-media drawings in patinated frames that are intended to hang in front of wallpaper also designed by the artist. In its totality, the work delves into many themes that her polymathic mind has explored throughout her long, productive career: botany, cosmography, seriality, spirituality, geometry, aging, etc. It combines nature studies with dense patterning on a large scale that create an immersive environment for the viewer. We get caught up in the detail of plants, patterns based on algorithms, reflections of the sky or industrial scrap—so much based on rules that it could be machine made but emphatically crafted by hand.","wall installation; ten framed works on paper arranged in five rows placed over a colorful wallpaper backdrop","The artist, New York; [Miles McEnery Gallery, New York, sold to Mersky 2018]; Robert B. Mersky, Minneapolis; given to MIA, 2019.","From ","","2019.132.6a-k","Artist: Judy Pfaff","Artist","American","American, born England 1946","%C2%A9 Judy Pfaff","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128624","Hinerburgseeli, 1514 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Hinerburgseeli / 1514 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.125","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128616","Silvaplanersee, 1791 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Silvaplanersee / 1791 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.117","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128523","Griessee, 2386 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Griessee / 2386 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.24","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128581","Lago di Leit, 2260 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Leit / 2260 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.82","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128604","Lac Chaux de Jean Max, 2324 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac Chaux de Jean Max / 2324 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.105","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","European Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128618","Lej Dals Chöds, 2153 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lej Dals Chöds / 2153 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.119","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128609","Stelsersee, 1668 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Stelsersee / 1668 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.110","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128565","Bachalpsee, 2265 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Bachalpsee / 2265 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.66","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128636","Älplisee, 2156 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Älplisee / 2156 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.137","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128620","Sulsseeroli, 1920 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Sulsseeroli / 1920 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.121","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128516","Lago di Morasco, 1850 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Morasco / 1815 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.17","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128600","Lac de Tête de Balme, 2225 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac de Tête de Balme / 2225 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.101","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128630","Furggasee, 2510 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Furggasee / 2510 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.131","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128535","Laghetti d'Antabia, 2189 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proofof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Laghetti d'Antabia / 2189 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.36","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128622","Hagelseemli, 2339 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Hagelseemli / 2339 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.123","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128546","Üschinensee, 1578 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Üschinensee / 1578 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.47","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128506","Seealpsee, 1141 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Seealpsee / 1141 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.7","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128603","Meidsee, 2661 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Meidsee / 2661 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.104","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128530","Sellamat, 1436 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Sellamat / 1436 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.31","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128627","Blausee, 2204 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Blausee / 2204 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.128","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128541","Lago Sfundau, 2392 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Sfundau / 2392 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.42","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128605","Grindijsee, 2334 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Grindijsee / 2334 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.106","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128562","Lac d'Aï, 1892 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac d'Aï / 1892 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.64","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128583","Tannensee, 1976 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Tannensee / 1976 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.84","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128510","Seealpsee, 2062 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Seealpsee / 2062 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.11","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128615","Lago Passo Viola, 2388 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Passo Viola / 2388 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.116","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128518","Lago Vannino, 2177 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Vannino / 2177 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.19","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128548","Bergseeli uf Nothalten, 1670 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Bergseeli uf Nothalten / 1670 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.49","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128577","Bergsee Chalberboden, 1925 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Bergsee Chalberboden / 1925 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.78","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128507","Lai Encarden, 2515 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lai Encarden / 2515 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.8","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128576","Lobhörner, 2050 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lobhörner / 2050 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.77","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128626","Bettmersee, 2006 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Bettmersee / 2006 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.127","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128561","Grimselsee, 1909 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Grimselsee / 1909 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.62","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128563","Hint Seeli, 2216 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Hint Seeli / 2216 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.63","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128525","Spaneggsee, 1419 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Spaneggsee / 1419 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.26","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128543","Lago del Cavagnöö, 2310 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago del Cavagnöö / 2310 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.44","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128638","Lagh Döss, 1652 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lagh Döss / 1652 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.139","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128613","Bergsee am Flüela, 2549 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Bergsee am Flüela / 2549 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.114","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128536","Lago di Lucendro, 2134 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Lucendro / 2134 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.37","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128571","Hornseeli, 2147 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Hornseeli / 2147 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.72","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128537","Lago della Sella, 2256 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago della Sella / 2256 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.38","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128553","Arnisee, 1368 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Arnisee / 1368 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.54","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128514","Schottensee, 2469 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Schottensee / 2469 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.15","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128623","Sägistalsee, 1935 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Sägistalsee / 1935 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.124","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128625","Burgseeli, 613 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Burgseeli / 613 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.126","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128585","Melchsee, 1891 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Melchsee / 1891 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.86","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128578","Lägh da Cavloc, 1907 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lägh da Cavloc / 1907 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.80","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128606","Riffelsee, 2757 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Riffelsee / 2757 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.107","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128575","Sulssee, 1917 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Sulssee / 1917 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.76","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128611","Lai da Vons, 1991 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lai da Vons / 1991 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.112","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128614","Lais da Maighels, 2248 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lais da Maighels / 2248 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.115","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128545","Sewenalpsee, 2085 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Sewenalpsee / 2085 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.46","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128544","Lago Busin, 2398 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Busin / 2398 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.45","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128560","Räterichsbodensee, 1767 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Räterichsbodensee / 1767 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.61","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128588","Lago di Tom, 2021 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Tom / 2021 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.89","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128528","Lago Bianco, 2076 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Bianco / 2076 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.29","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128511","Lai Nair, 1544 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lai Nair / 1544 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.12","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128531","Grosssee, 1622 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Grosssee / 1622 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.32","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128570","Iffigsee, 2065 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Iffigsee / 2065 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.71","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128552","Grosses Fleschseeli, 1800 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Grosses Fleschseeli / 1800 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.53","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128519","Seeli bei der Albert-Heim-Hütte, 2518 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Seeli bei der Albert-Heim-Hütte / 2518 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.20","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128522","Lago del Sabbione, 2466 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago del Sabbione / 2466 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.23","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128608","Fluealpsee, 2683 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Fluealpsee / 2683 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.109","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128619","Lej Sgrischus, 2618 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lej Sgrischus / 2618 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.120","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128582","Engstlensee, 1850 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Engstlensee / 1850 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.83","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128599","Totensee, 2160 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Totensee / 2160 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.100","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128505","Sämtisersee, 1209 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Sämtisersee / 1209 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.5","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128526","Ängisee, 1989 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Ängisee / 1989 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.27","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128595","Lacs des Aiguilles Rouges, 2810 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lacs des Aiguilles Rouges / 2810 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.96","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128532","Über Murgsee, 1820 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Über Murgsee / 1820 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.33","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128568","Lago del Naret, 2310 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago del Naret / 2310 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.69","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128580","Lagh de Cama, 1265 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lagh de Cama/ 1265 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.81","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128629","Lago Sao Seo, 2028 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Sao Seo / 2028 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.130","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128617","Silsersee, 1797 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Silsersee / 1797 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.118","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128586","Lago di Morghirolo, 2264 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Morghirolo / 2264 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.87","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128572","Seebodensee, 2042 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Seebodensee / 2042 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.73","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128529","Schwendiseen, 1159 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Schwendiseen / 1159 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.30","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128549","Spilauersee, 1837 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Spilauersee / 1837 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.50","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128596","Moosalpsee, 2050 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Moosalpsee / 2050 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.97","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128559","An der Matten, 1874 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""And der Matten / 1874 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.60","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128551","Seeli am Brätschenflue, 1918 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Seeli am Brätschenflue / 1918 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.52","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128584","Blausee, 1920 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Blausee / 1920 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.85","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128567","Lago Scuro, 2290 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Scuro / 2290 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.68","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128579","Lago Grande d'Antabio, 2189 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Grande d'Antabio / 2189 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.79","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128538","Lago Creil, 2579 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Creil / 2579 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.39","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128574","Hublensee, 2090 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Hublensee / 2090 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.75","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128573","Seebergsee, 1831 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Seebergsee / 1831 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.74","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128602","Chleis seewji, 2520 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Chleis seewji / 2520 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.103","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128502","Turrasee, 2266 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Turrasee / 2266 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.3","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128637","Fuorcla Surlej, 2755 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Fuorcla Surlej / 2755 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.138","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128566","Lac de Brêt, 674 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac de Brêt / 674 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.67","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128631","Ober Prätschsee, 1980 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Ober Prätschsee / 1980 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.132","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128517","Laghi della Valetta, 2442 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Laghi della Valetta / 2442 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.18","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128591","Lac de Chanrion, 2387 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac de Chanrion / 2387 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.92","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128558","Luterseeli, 2283 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Luterseeli / 2283 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.59","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128515","Lago di Castel, 2210 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Castel / 2210 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.16","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128592","Lac d'Ar Pitetta, 2230 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac d'Ar Pitetta / 2230 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.93","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128597","Bergsee am Gornergrat, 2913 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Bergsee am Gornergrat / 2913 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.98","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128527","Ruosalper Chulmsee, 2100 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Ruosalper Chulmsee / 2100 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.28","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128524","Laghi Boden, 2280 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Laghi Boden / 2280 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.25","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128598","Bergsee am Hohfulh, 2230 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Bergsee am Hohfluh / 2230 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.99","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128521","Ze Binne, 1328 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Ze Binne / 1328 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.22","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128539","Laghi della Crosa, 2116 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Laghi della Crosa / 2116 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.40","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128601","Märjelen, 2331 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Märjelen / 2331 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.102","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128557","Laghi d'Orsirora, 2286 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Laghi d'Orsirora / 2286 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.58","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128633","Grialetschsee, 2536 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Grialetschsee / 2536 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.134","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128550","Alplersee, 1506 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Alplersee, 1506 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.51","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128590","Lac Bleu, 2090 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac Bleu / 2090 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.91","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128564","Lago Nero, 2387 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Nero / 2387 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.65","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128501","Lac de Fenêtre, 2495 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac de Fenêtre / 2495 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.2","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128612","Jöriseen, 2489 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Jöriseen / 2489 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.113","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128635","Lai Crap Alv, 2304 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lai Crap Alv / 2304 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.136","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128508","Lai da Tuma, 2345 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lai da Tuma / 2345 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA< 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.9","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128554","Kleines Fleschseeli, 1798 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Kleines Fleschseeli / 1798 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.55","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128696","Signature page, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet) 28 1/2 × 20 × 3/4 in. (72.39 × 50.8 × 1.91 cm) (portfolio case, closed)","Signature page","Europe","Belgium",,"1994","Not on View","20th century","Inscribed in pencil: for Joan","Signed in pencil: Mark Luyten","Inscribed in pencil: AP II/III","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","signed and inscribed in pencil: ""Mark Luyten / AP II/III / for Joan""","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.141","Artist: Mark Luyten; Publisher: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128628","Tschingelsee, 1150 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Tschingelsee / 1150 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.129","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128639","Ober Surettasee, 2266 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Obert Surettasee / 2266 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.140","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128634","Carschinasee, 2180 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Carschinasee / 2180 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.135","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128556","Gross See, 2337 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Gross See / 2337 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.57","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128569","Chli See, 2204 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Chli See / 2204 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.70","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128500","Lago Srùer, 2351 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago Srùer / 2351 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.1","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128540","Lago di Robiei, 1940 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Robiei / 1940 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.41","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128534","Milchspüeler, 2205 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Milchspüeler / 2205 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.35","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128555","Engstlensee, 1850 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Engstlensee / 1850 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.56","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128589","Lac de Mayen, 1826 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac de Mayen / 1826 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.90","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128542","Lago del Zött, 1940 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago del Zött / 1940 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.43","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128503","Schwarzsee bei Zermatt, 2552 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Schwarzsee bei Zermatt / 2552 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.6","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128547","Gantrischseeli, 1579 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Gantrischseeli / 1579 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.48","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128509","Leg Crevasalvas, 2390 m, from ""140 Lakes in the Swiss Alps""","Screenprint on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Leg Crevasalvas / 2390 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis; given to MIA, 2018.","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.10","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128607","Gibidumsee, 2193 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Gibidumsee / 2193 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.108","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128593","Lac de Tanay, 1408 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lac de Tanay / 1408 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.94","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "128587","Lago di Retico, 2372 m, from ""140 Lakes in the Swiss Alps""","Portfolio of 140 screenprints on tissue Japan paper; artist's proof"," Prints","28 × 19 3/4 in. (71.12 × 50.17 cm) (sheet)","Print","Europe","Belgium",,"1994","Not on View","20th century","","","","The print portfolio ""140 Lakes in the Swiss Alps"" was published as part of a multi-media installation called “On a Balcony,” a three-year project commissioned by the Walker Art Center, Minneapolis, in late 1993. Each of the 140 screenprints in the portfolio features the imprinted name and elevation of a different lake located in the Swiss Alps. The overall dimensions of the prints laid out edge to edge equals the floor area of the artist’s Antwerp studio. The various names and elevations serve as linguistic avenues for conceptually experiencing the lake-dotted mountainous landscape of the Swiss Alps, a metaphorical exercise that also suggests that experiences of nature devolve over time into abstract memories. Lamenting the difficulty of profoundly experiencing nature, Luyten has stated: “Seeing is always linked with what has been seen, with descriptions, conventions, stories, memories, desires, etc. A landscape is always a landscape of words. Language creates a distance between the subject and the object.”","text in black: ""Lago di Retico / 2372 m""; on thin paper","The artist, Antwerp, Belgium, given to Rothfuss, c. 1994-96; Joan L. Rothfuss, Minneapolis","From 140 Lakes in the Swiss Alps: 140 Sheets of Paper That Cover My Studio Floor When Placed One Next to the Other","Gift of Joan Rothfuss and Paul Shambroom","2018.90.1.88","Artist: Mark Luyten","Artist","Belgian","Belgian, born 1955","%C2%A9 Mark Luyten","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "142693","Production 2","Black human hair, cotton, rice paper, pulverized denim, indigo dye, and screenprinted photographs on handmade pulp paper"," Collages / Assemblages; Works on Paper","84 × 37 × 2 in. (213.4 × 94 × 5.1 cm)","Assemblage","North America","United States",,"2020","Not on View","21st century","","","","Adebunmi Gbadebo frequently emphasizes non-traditional materials in her work, such as found historical images or Black human hair, as a methodological alternative to what the artist calls the “Whiteness” of art history. Part narrative, part metaphor, this mixed media collage weaves historical printed images of enslaved workers manufacturing indigo dye in the American South with abstract sections composed of Black hair, cotton paper, and indigo dye. The collage reflects Gbdebo’s longstanding interest in presenting historical aspects of the enslavement and subjugation of Africans in the American South during the 18th and 19th centuries, in this instance, the indigo dye trade in South Carolina, where the artist has traced her roots. By revealing overlooked or forgotten histories, Gbadebo challenges accepted interpretations of the past as a means to confront the future.","textured sheet of paper pulp in mostly indigo and white; vintage maps in CL and URC; tufts of dark hair in LRC and ULC in indigo gradated pigments; vintage-style printed imagery of staggered crates among a landscape in LLC and in C; mounted on a wood frame with a black plastic screen behind the sheet","","From Production series (2020-22)","Gift of funds from Mary and Bob Mersky","2021.111","Artist: Adebunmi Gbadebo","Artist","Nigerian","American, born 1992","","Global Contemporary Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,true,,,,,,,,,,,,,,,,,,, "119245","Mountains, Moving - Slide Show: of National Archive Scan, Ansel Adams","Digital slideshow"," Digital Art; Tools, Equipment and Utilitarian Objects","26:09 duration","Digital slide show","North America","United States",,"2013","Not on View","21st century","Signature, Date and Edition","on back of color still photograph, in black ink: [Penelope Umbrico 2013]; on certificate of authenticity, in blue ink: [Penelope Umbrico]","on certificate of authenticity, in blue ink: [31]","Umbrico created ""Mountains, Moving---Slide Show of National Archives Scan, Ansel Adams,"" at a moment of intense, critical conversation around technology and consumer impact on the larger photography field. Kodak Eastman Company alongside others like Polaroid, declared bankruptcy (2012) due to the rapid decline of analog film cameras and rapid rise of digital photography, social media, and smartphones. The slideshow concentrates on a singular photograph of a mountain taken by Ansel Adams (American 1902-1984), whose intention it was to make his negatives and prints available to photography students. Adams was a ardent teacher who believed that the technology used to capture and process the physical photograph mattered as much as the image itself. For this work, Umbrico processed the image through 526 filters of 27 smart-phone camera apps. The result is a hauntingly synthetic time-lapse---everything about the images change except the mountain's form remains ever-present.","image of mountain as photographed by Ansel Adams manipulated with various colored filters--turned upside down, close up, etc.; certificate of authenticity with artist's statement (signed by the artist with edition number) and color still from slide show (signed and dated by artist) included","",,"Anonymous gift","2023.109","Artist: Penelope Umbrico","Artist","American","American, born 1957","","Global Contemporary Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.06709447,,,,,,,,,,,,,,,,,,,,,,, "87031","Limerick","Wool; double weave"," Textiles","overall: 144 x 52 in. (365.76 x 132.08 cm)","cloth","Europe","Ireland",,"1982","Not on View","20th century","","","","Artistic training of the mid-twentieth century emphasized the modernist aesthetic vision. Clean lines and a reduction of form were concepts employed by many artists, using a variety of media, to create bold, powerful statements. In the world of textile design, the Larsen Design Studio was a company noted for its successful application of these principles, creating fabrics that brought the modernist aesthetic into home interiors. Mark Pollack, who worked for the company from 1976 to 1987, was particularly fascinated by the powerful aesthetic of repeated geometric forms and frequently employs these elements in his designs. In his work and the fabrics he created for Larsen, as well as for his own company, one senses the strength of the subtle rather than the force of the bold. For a greater understanding of the power of textile design, the influence of the Jack Lenor Larson company and the specific contributions of designer Mark Pollack see the exhibition in gallery 279 which is to your right.","Dbl. weave. 1"" blocks separated by 1/4"" framework with dots at corners. 8"" sq. repeat. Mauve, blue, red, purple, orange, green Currant","","From Manor Born","Gift of Cowtan & Tout, Inc.","99.1.440.1","Artist: Mark Pollack; Designer: Larsen Design Studio, New York; Designer: Jack Larsen; Mill: John Orr Ltd.; Producer: Jack Lenor Larsen, Inc.","Artist","American","American, born 1927","%C2%A9 Jack Lenor Larsen%2C Inc.%2C Mark Pollack%2C Larsen Design Studio","Arts of the Americas","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.0646796,,,,,,,,,,,,,,,,,,,,,,, "142601","Madonna and Child with Saint John the Baptist and Saint Zenobius","Tempera and tooled gold on panel"," Paintings","49 × 25 3/4 × 4 7/16 in. (124.5 × 65.4 × 11.3 cm)","Painting","Europe","Italy",,"c. 1395 - 1412","Not on View","14th-15th century","","","Frame inscribed in gold gothic letters \""AVE MARIA GRATIE PLENA\""; Modern frame plate labeled: \""Spinello Aretino / .... –1400\""","The Italian painter Lorenzo di Niccolò was active in and around Florence at the beginning of the Renaissance. As artists began experimenting with new styles and media, Lorenzo favored a more conservative manner and sustained a fourteenth-century modes of representation into the fifteenth century. This panel painting depicts the Madonna and Christ Child enthroned and attended by angels and saints. Lorenzo shows Mary and the infant Christ oversized to signify their importance and divine status. The presence of Saint John the Baptist, the patron saint of Florence, and Saint Zenobius, the first bishop of Florence, suggests it was executed for a Florentine patron. The gold border of the sumptuous red damask canopy suspended above Mary and Jesus and the golden haloes of all the figures are stamped with “punches,” or metal tools, a popular technique in Italian medieval panel painting. The richly patterned surface on the gold ground created a luminous, glittered effect, which was much enhanced in the candle-lit churches in which such pictures were originally displayed.","seated woman at center wearing red long sleeved gown and black cloak with gold trim, holding baby with red garment or blanket across its legs; child holds a small bird in its PL fist; pair of standing angels with blonde hair and green gowns flanking seated woman; pair of male figures seated at bottom corners of central woman's throne; man at left wears a shirt with long grey wavy hair and a pink clock and holds a scroll with text; man at right wears a bright red cape, white gown, and white hat, and holds a black book; elaborate pointed arch frame with carved leaves at top and arches beneath; pair of spiral columns; text in gold on blue ground at bottom; plate at bottom center: SPINELLO ARETINO / 1308 - 1400","","From ","Anonymous gift","2021.130.1","Artist: Attributed to Lorenzo di Niccolò; Artist: Formerly attributed to Aretino Spinello","Artist","Italian","Italian, 1346 - 1410","","European Art","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.06440429,,,,,,,,,,,,,,,,,,,,,,, "113135","Venice Bridge","Watercolor over black chalk"," Drawings; Works on Paper","22 3/4 x 30 in. (57.79 x 76.2 cm)","Drawing","North America","United States",,"2011","Not on View","21st century","","LRC, in pencil: Janowitz 2011","","Boston-based artist Joel Janowitz works in a variety of media—oil painting, watercolor, color monotype prints, lithography. A fluid interplay of technical experimentation and ideas which are developed in these different processes can be seen to nourish the range of the artist's output. Janowitz's subject matter is often a location—a greenhouse, a hilly landscape, a Venetian canal—which he captures from an unexpected yet potent viewpoint. He abstracts elements of a particular space into stunning, abstract shapes, yet evokes the setting and mood of his subject so completely, one is momentarily transported there. In Venice Bridge, the aging grandeur of Italy is evoked in the monumental, graceful arch of the stone bridge that sweeps across the page on a diagonal. The gorgeously weathered patina of the stone and shadowy dark underside of the bridge are described in a splendid array of brown and gray washes, while the top of the arch, where Janowitz reserves the white of the paper, captures the brightness and warmth of the Italian sun. He employs endless shades of greens, blues, yellows, grays, and blacks to represent the distinct greenish color of the canal water of Venice, the rippling, gentle movement of the water, and a suggestive reflection of a nearby luminous yellow palazzo. His snapshot of the bridge becomes a portrait of the city of Venice.","view looking down toward green water with part of arched bridge in ULC","The artist, Boston, sold to MIA, 2011","From ","The Richard Lewis Hillstrom Fund","2011.77","Artist: Joel Janowitz","Artist","American","American, born 1945","%C2%A9 Joel Janowitz","Prints and Drawings","In Copyright","invalid","","",1,"1",1,,,"[""""]","media",0.05665124,,,,,,,,,,,,,,,,,,,,,,, "86769","Hologram Square","Silk, linen; double weave"," Textiles","overall: 25 1/2 x 58 1/2 in. (64.77 x 148.59 cm)","cloth","Europe","Switzerland",,"1986","Not on View","20th century","","","","Like every Larsen designer Mark Pollack was passionate about all art forms and particularly appreciated the relationship between media and aesthetics. Pollack's innate understanding of the potential of textile structures and his technical skill has allowed him to explore the aesthetic potential of the natural grid structure of the woven form, in a way not possible for most fabric designers. Mosaic Tapestry, Dress Circle and Hologram Square, which we see on this wall, gives us insight into a few of the possibilities of a simple square and further explorations of geometric forms and woven structures are seen on the west wall of this gallery. As you view these deceptively simple designs, note the aesthetic subtleties, particularly in the use of color, and you will understand why Pollack is so revered within the design field. His understanding and application of color relationships to nuance a design concept and psychological effect is quite remarkable. Notice the shifting tonalities that converge to create an inlaid diamond pattern or the moiré quality when sheer fabrics are layered. The more you look the more you see; it is a rewarding experience.","Silk and linen cloth with double weave variation interlocked at points in pattern of alternate rows of 1""-size blocks. Moire effect due to interaction of the two fabrics in the pockted areas. Bronze silk and linen cloth with double weave variation interlocked at points in pattern of alternate rows of 1""-size blocks. Moire effect due to interaction of the two fabrics in the pockted areas. bronze","","From Unknown","Gift of Cowtan & Tout, Inc.","99.1.366","Designer: Larsen Design Studio, New York; Producer: Jack Lenor Larsen, Inc.","Artist","","New York, est. 1952","%C2%A9 Jack Lenor Larsen%2C Inc.%2C Larsen Design Studio","Arts of the Americas","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.05665124,,,,,,,,,,,,,,,,,,,,,,, "132073","The Kurds","Oil on linen"," Paintings","96 × 118 × 2 in. (243.84 × 299.72 × 5.08 cm) (canvas)","Painting","North America","United States",,"2018","Not on View","21st century","","","","At the age of ten, Baghdad-born artist Hayv Kahraman was part of the mass exodus of Kurds fleeing Iraq to escape Saddam Hussein’s brutal regime in 1991. The 50-mile journey took 11 days. She remembers being stuck in traffic with her mother and sister as they approached the border with Iran. “The main thing I can access from that time is these masses of bodies on the move,” said Kahraman, who is Kurdish on her mother’s side. “I remember seeing this constant flow of bodies from the car window, knowing that we were lucky just to have a car.” The grueling journey ended when they discovered the border was closed. Forced to turn around, it would be another year before her mother hired a smuggler, who helped them reach Sweden, where the artist lived as a teenager. ""The Kurds"" is part of a larger series of paintings, prints, and mixed media works that Kahraman has created that speaks to the nature of suffering and pity. Pity is an heirarchical emotion---one that conveys a them/us paradigm. Here the viewer's sense of ""fortunate"" and ""safety"" is cast against the ""unfortunate victims"". By amplyifying the emotion of pity, Kahraman speaks to the hidden side of humanitarian work that commodifies, sexualizes, and fetishizes of those in need. Yet, by highlighting the commodification of trauma and tragedy, her artwork also gives way for different types of responsibility.","ten women wearing predominately geometric patterned garments with identical sweeping black hairstyles, in a V shaped composition; muted colored; tan and grey ground; horizontal slit cut at center of image","",,"Gift of Mary and Bob Mersky","2022.98.9","Artist: Hayv Kahraman","Artist","Iraqi (active U.S.)","Iraqi (active U.S.), born 1981","%C2%A9 Hayv Kahraman","Global Contemporary Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.05665124,,,,,,,,,,,,,,,,,,,,,,, "119377","Season's Greeting","Drypoint and engraving"," Prints","3 15/16 × 6 7/8 in. (10 × 17.46 cm) (plate) 18 5/8 × 12 3/4 in. (47.31 × 32.39 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"c. 1945 (printed 1990)","Not on View","20th century","","LRC, in pencil: Louise Bourgeois","LLC, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstracted image; rectangle at left with image of pine tree, house and moon; rectangles at right with top image of pine tree and star shapes--bottom image of door and window","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.5","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 4; MoMA 537",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119376","Greeting: Laughing Monster","Soft-ground etching and engraving"," Prints","2 5/8 × 4 13/16 in. (6.67 × 12.22 cm) (plate) 18 5/8 × 12 7/8 in. (47.31 × 32.7 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"1946 (printed 1990)","Not on View","20th century","","LRC, in pencil: Louise Bourgeois","LLC, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. ""Quarantania,"" a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—""Quarantania""—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","figure with wild laughing face with open mouth; wings or arms outstretched, holding a banner reading, ""Season's Greetings 1946-47""","[Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998]; Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014.","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.1","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris; Printer: Piero Crommelynck, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 5: MoMA 533",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119375","The Symbols","Soft-ground etching, engraving and drypoint"," Prints","4 15/16 × 7 5/8 in. (12.54 × 19.37 cm) (plate) 18 1/2 × 12 5/8 in. (46.99 × 32.07 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"1942 (printed 1990)","Not on View","20th century","","LRC, in pencil: Louise Bourgeois; bottom left in the plate: THE SYMBOLS (last S backwards)","LLC, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstract image; four by four grid of rectangles, each with abstract images inside; two concentric circles at center of image","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.3","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris; Printer: Piero Crommelynck, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & 23; MoMA 535",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119379","Vase of Tears","Soft-ground etching, engraving and drypoint"," Prints","5 7/16 × 3 1/2 in. (13.81 × 8.89 cm) (plate) 18 9/16 × 12 7/8 in. (47.15 × 32.7 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"c. 1945 (printed 1990)","Not on View","20th century","","LRC, in pencil: Louise Bourgeois","LLC, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstracted image; crying figure holding a bowl in its PL hand, catching its tears","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.2","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris; Printer: Piero Crommelynck, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 26; MoMA 534",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119378","Boxwood","Soft-ground etching"," Prints","11 15/16 × 4 11/16 in. (30.32 × 11.91 cm) (plate) 18 5/8 × 12 3/4 in. (47.31 × 32.39 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"c. 1945 (printed 1990)","Not on View","20th century","","LRC below image, in pencil: Buis 28/50 Louise Bourgeois","","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstract image with hourglass-like base and rounded forms at top; hatching lines in ULC; short horizontal lines at right; water-like horizontal lines at bottom","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.7","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 24; MoMA 539",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119371","La Maison d'Arcueil (The House of Arucueil)","Soft-ground etching"," Prints","5 7/8 × 8 3/4 in. (14.92 × 22.23 cm) (plate) 18 1/2 × 12 3/4 in. (46.99 × 32.39 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"1947 (printed 1990)","Not on View","20th century","","LLC below image, in pencil: [La (?) à arcueil.]; LRC, in pencil: Louise Bourgeois","LLC, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstract image; oval shapes (heads?) at left--some with hair; one half-circle ""face"" with ""eyes,"" LLC; rectangular architectural element, LRC, with two archways and stairstep-like elements at bottom center","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.4","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris; Printer: Piero Crommelynck, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 25; MoMA 536",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119373","Thompson Street","Soft-ground etching and engraving"," Prints","14 7/8 × 7 13/16 in. (37.78 × 19.84 cm) (plate) 18 1/2 × 12 3/4 in. (46.99 × 32.39 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"1945-48 (printed 1990)","Not on View","20th century","","LRC below image, in pencil: Louise Bourgeois","LLC below image, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstract image; bird-like form at center in front of a door","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.8","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 27; MoMA 540",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119372","The Grid","Drypoint and engraving"," Prints","4 5/8 × 2 5/8 in. (11.75 × 6.67 cm) (plate) 18 1/2 × 12 3/4 in. (46.99 × 32.39 cm) (sheet) 22 1/4 × 16 9/16 × 5/8 in. (56.52 × 42.07 × 1.59 cm) (outer frame)","Print","Europe","France",,"c. 1945 (printed 1990)","Not on View","20th century","","LRC below image, in pencil: Louise Bourgeois","LLC below image, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstract image; grid-like form at top; rectangle at bottom with zigzag, spiral, linear, circle and curved shapes","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.6","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 22; MoMA 538",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "119374","Bosom Lady","Engraving"," Prints","7 13/16 × 14 13/16 in. (19.84 × 37.62 cm) (plate) 13 × 18 1/2 in. (33.02 × 46.99 cm) (sheet) 16 9/16 × 22 1/4 × 5/8 in. (42.07 × 56.52 × 1.59 cm) (outer frame)","Print","Europe","France",,"1948 (printed 1990)","Not on View","20th century","","LLC below image, in pencil: Louise Bourgeois","LRC below image, in pencil: 28/50","Trained in Paris, Bourgeois immigrated to New York in 1938, where she began a career as a sculptor and printmaker that spanned more than seventy years. Her work ranges from representation to pure abstraction, often revealing the influences of Surrealism and the New York school, especially in her use of memory, dreams, emotion, and the formal language of abstraction. Despite her affinity for using abstract imagery, Bourgeois always rooted her art in real-world experiences that were often drawn from childhood memories. Louise Bourgeois was a prodigious printmaker who worked in a range of graphic media that included intaglio, woodcut, screenprint, and lithography. Quarantania, a portfolio of nine intaglio prints, was produced and published in 1990 as a reprinting of a group of plates that Bourgeois originally completed between 1942 and 1948. The portfolio represents some of the artist’s earliest efforts in the medium, a time she freely experimented with imagery and ideas while adjusting to her new life in the United States. The prints were never formally editioned until the 1990 publication, though a few impressions were pulled from the original plates for friends and associates. The portfolio’s title—Quarantania—is derived from the French quarante, meaning “forty,” a reference to the 1940s.","abstract image; bird with a woman's head and breasts; bowl at left with round elements inside","(Montgomery Glasoe Fine Art, Minneapolis; sold to Root 1998); Michael and Tamara Root, Minneapolis, 1998-2014; given to MIA, 2014","From Quarantania","Gift of Tamara and Michael Root","2014.12.2.9","Artist: Louise Bourgeois; Publisher: Galerie Lelong, Paris","Artist","American (born France)","American (born France),1911-2010","%C2%A9 The Easton Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","European Art","In Copyright","invalid","","",1,"1",1,"see W & S 28; MoMA 541",,"[""""]","media",0.056375924,,,,,,,,,,,,,,,,,,,,,,, "43661","Self-Portrait with Leona Helmsley (NBC)","Digital inkjet print on paper, mounted on board"," Prints; Works on Paper","62 1/2 x 83 1/2 in. (158.75 x 212.09 cm) (image)","Print","North America","United States",,"1992","Not on View","20th century","","","","Judith Yourman's unconventional self-portrait explores the increasingly blurred boundaries between news and popular entertainment, in particular the media's role in amplifying our culture's fascination with celebrity and scandal and its prejudicial treatment of women who dare to defy social norms. Part of Yourman's ""Female Offender"" series, the digitally-manipulated image was derived from the artist's personal observations of the infamous 1989 tax evasion trial of Leona Helmsley (1920-2007). Helmsley, a billionaire real estate investor and self-styled ""queen"" of the Helmsley hotel empire, was tried and convicted in New York federal court of income tax evasion and mail fraud and sentenced to 16 years in prison (reduced on appeal), fined $7.1 million, and ordered to pay back-taxes of $1.7 million. She was released from prison in 1994 after serving 21 months. Helmsley's imperious public image was affirmed at trial when one of her former housekeepers testified that she overheard Helmsley say: ""We don't pay taxes; only the little people pay taxes.""","Photograph digitized with computer assistance, printed as an 8 x 8 grid pattern; individual pixels represented.","The artist, Minneapolis; given to MIA, 1995.","From ""Female Offender"" series","Gift of the artist","P.95.18","Artist: Judith Yourman","Artist","American","American, born 1957","%C2%A9 Judith Yourman","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.045064572,,,,,,,,,,,,,,,,,,,,,,, "116294","Curator's Office","Mixed media installation"," Collages / Assemblages; Artist Installations","Variable","Artist's installation","North America","United States",,"2012-13","G378","21st century","","","","Constructing a fictional account of a Mia curator who mysteriously disappeared in 1954, artist Mark Dion created this period room as if the curator's office had been sealed up and, over time, forgotten. The vintage habitat provides a fascinating snapshot of a typical working environment from the 1950s and compelling context for the range of important examples of period industrial design. A virtual time capsule, the room is filled with objects that will be nostalgic for some but which many others will find unfamiliar and even exotic, including the Underwood typewriter, a Poloroid Land Camera, an adding machine, clock radio, and other streamlined, mass-produced objects from the midcentury. It also houses Cubist-inspired paintigns, an elegant Art Deco bar caddy, and an ashtray overflowing with cigarette butts. Working within the language of museological and scientific display, Dion calls into question the acts of collecting and exhibiting, thereby interrogating their significance to culture, history, and our environment. In this way, Curator's Office illustrates a ""period room"" by highlighting the re-creation of a historical moment through the curation and display of objects within an interior space.","gallery installation of a fictional ""period room""","","From ","The Ethel Morrison Van Derlip Fund","2013.17","Artist: Mark Dion","Artist","American","American, born 1961","%C2%A9 Mark Dion Studio","Global Contemporary Art","In Copyright–Educational Use","valid",5589,3715,0,"1",1,,,"[""""]","media",0.04380178,,,,,,,,,"[{""title"":""Curator's Office"",""_id"":""116294"",""objectId"":""116294"",""description"":""Curator’s Office presents the story of Dr. Barton Kestle, a curator at Mia during the 1950s who simply disappeared. The door to his office was simply sealed behind a wall in a later museum renovation. Or so a visitor might think. Artist Mark Dion carefully crafted a narrative about an imaginary staff person who may have run afoul of the US government during the height of the Cold War. Kestle’s office provides a window into a bygone era and, perhaps, clues to help solve the mystery of the missing curator.
"",""link"":""http://artstories.artsmia.org/#/o/116294"",""type"":""artstory""}]",,,,true,,,,,,,true,,, "8704","Enlacement","Mixed media"," Paintings","51 7/8 x 37 7/8 in. (131.8 x 96.2 cm)","Painting","Europe","Belgium",,"1990","Not on View","20th century","","LL: Mestach 90","","","","",,"The Ethel Morrison Van Derlip Fund","91.65","Artist: Jean Willy Mestach","Artist","Belgian","Belgian, 1926-2014","%C2%A9 Jean Willy Mestach","Global Contemporary Art","In Copyright–Educational Use","valid",1380,1920,0,"1",0,,,"[""""]","media",0.039212033,,,,,,,,,,,,,,,,,,,,,,, "137929","sump","Single-channel color HD video with sound"," Time-based Media","7 minutes, 32 seconds","Video","North America","United States",,"2015","G368","21st century","","","","The work of Kenneth Tam takes shape as video, sculpture, and photography that challenges our received ideas and societal norms regarding the male body as it relates to physical intimacy, sexuality, vulnerability, and private ritual. His practice involves the participation of strangers—often recruited through online message boards and forums such as Craigslist and Reddit—in situations orchestrated by the artist that range from tender to awkward to absurd. Recorded in the domestic space of the suburban basement, sump (2015) documents a series of invented rituals between the artist and his father. The video uses physical interactions ranging from playful to strange to explore the unspoken intimacies and tensions between father and son. sump investigates the fraught space occupied by parent and child, using their bodies as a way to examine the interpersonal tensions that exist in the Asian father/son relationship. Their wordless exchanges typify the way such dynamics have come to communicate through acts of silence.","received on a green and grey thumbdrive inside a black Pelican case (2 x 6 x 4 in.) with gallery label on top; compressed archival master and exhibition copy","",,"Bring Art to Life Fund","2020.42","Artist: Kenneth Tam","Artist",,"born 1982","","Global Contemporary Art","In Copyright","valid",1920,1080,1,"1",0,,,"[""""]","media",0.03801964,,,,,,true,,,,,,,,,,,,,,,,, "132218","Voyage in Chains","Mixed media assemblage of found objects"," Sculpture; Collages / Assemblages","61 × 54 × 36 in. (154.94 × 137.16 × 91.44 cm)","Assemblage","North America","United States",,"2000","G374","21st century","","","","""Voyage in Chains"" is composed of old rusted metal tools —shovel, pitchfork, pickax heads, and a hoe—held together by chains. A crucifix, American flag and metal ship are also among the assembled parts, all sprouting from an old wooden chair. Minter began making art in order to ""put a message...that could heal the wounds everywhere.” This piece is one of many has has made about the enslavement of African people in the United States. His work is driven by his desire to tell stories through the careful juxtaposition of objects, which grew from his epic construction of his ""African Village in America,” a quarter-acre, densely packed sculptural environment built around his home that he began in 1989.","chair with applied found objects including hoes, shovels, pick ax, wheels, cast iron pan, clothes iron, American flag, chains, padlocks, and metal ornaments","",,"Gift of Mary and Bob Mersky","2022.98.10","Artist: Joe Minter","Artist","American","American, born 1943","%C2%A9 Joe Minter %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright","valid",7174,8736,1,"1",0,,,"[""""]","media",0.03801964,,,,true,,,,,,,,,,,,,,,,,,, "1259","The Crucifixion","Mixed media on paper and canvas"," Paintings","39 1/2 x 29 1/2 in. (100.33 x 74.93 cm) (canvas)","Painting","Europe","France",,"early 1920s","G377","20th century","","LR in black: G. Rouault","","Many of Rouault’s works reveal his strong Catholic faith. The Crucifixion, representing Christ’s sacrifice for the salvation of humanity, is a prominent theme. The thick application of vibrant color here is characteristic of the Fauvist movement, with which Rouault was associated. While other Fauves tended to avoid social or moral commentary, he used Fauve techniques to express religious conviction. Rouault began his artistic career as an apprentice to a stained-glass painter in French Gothic cathedrals. That background shows in the thick black lines and bold, luminous colors of The Crucifixion and helps explain his stance as an artist: “I do not feel that I belong to this modern life . . . my real life is back in the age of cathedrals.”","Crucifixion of Christ. Expressionism. Religious.","",,"Gift of the P. D. McMillan Land Company","55.1","Artist: Georges Rouault","Artist","French","French, 1871–1958","%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","European Art","In Copyright","valid",4247,5660,1,"1",0,,,"[""""]","media",0.03801964,,,,,,,,,,true,,,,,,,,,,,,, "4200","Autumn Leaves (Mirage Painting)","Mixed media on black canvas"," Paintings","89 x 42 1/2 in. (226.1 x 108.0 cm)","Painting","North America","United States",,"1990","Not on View","20th century","","","","","Abstraction.","",,"Gift of Edward A. Foster","91.157","Artist: Larry Bell","Artist","American","American, born 1939","%C2%A9 Larry Bell %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright–Educational Use","valid",2560,1171,0,"1",0,,,"[""""]","media",0.035541225,,,,,,,,,,,,,,,,,,,,,,, "4255","The Minnesota Drawing (Verburg)","Series of nine mixed media drawings"," Drawings","25 x 19 1/2 in. (63.5 x 49.53 cm) (sheet, varies)","Drawing","North America","United States",,"1982","Not on View","20th century","","","","","","Jim Dine; his gift to the MIA, 1991",,"Gift of the artist","91.52a-i","Artist: Jim Dine","Artist","American","American, born 1935","%C2%A9 Jim Dine %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",3243,4250,1,"1",1,,,"[""""]","media",0.035541225,,,,,,,,,,,,,,,,,,,,,,, "26405","Again: A Meeting House*","Mixed media on drapery sheer"," Paintings","76 3/8 x 262 1/2 in. (194 x 666.8 cm)","Painting","North America","United States",,"1985","Not on View","20th century","","","","","Abstraction. *(Not Narcoossee Neither is this Watervliet)","",,"Gift of the Minneapolis Foundation","90.128","Artist: Steven Sorman","Artist","American","American, born 1948","%C2%A9 1985 Steven Sorman","Global Contemporary Art","In Copyright","valid",5293,1413,1,"1",0,,,"[""""]","media",0.035541225,,,,,,,,,,,,,,,,,,,,,,, "29197","Untitled","Mixed media"," Paintings","3 1/2 in. (8.89 cm)","Painting","North America","United States",,"1967","Not on View","20th century","","LR (scraped out): Jimmy Ernst 67","","","Abstraction in a circular format.","",,"Gift of Lora and Martin G. Weinstein","96.133.1","Artist: Jimmy Ernst","Artist","American (born Germany)","American (born Germany), 1920-1984","%C2%A9 2002 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris","Global Contemporary Art","In Copyright","valid",4972,4964,1,"1",0,,,"[""""]","media",0.035541225,,,,,,,,,,,,,,,,,,,,,,, "13216","Portrait of Sigismund Blumann","Gelatin silver print"," Photographs","8 3/16 x 6 3/16 in. (20.8 x 15.72 cm) (image) 8 1/2 x 6 7/16 in. (21.59 x 16.35 cm) (sheet)",,,,,"c. 1940s","Not on View","20th century","","","","","PL profile of balding man with white hair; wearing dark suit and shirt with white collar","",,"Gift of Thomas and Nancy High","2000.54.1","","Artist",,,"","Photography and New Media","No Known Copyright","valid",3173,4227,1,"1",0,,,"[""""]","media",0.035541225,,,,,,,,,,,,,,,,,,,,,,, "27644","The Converse is as Often True","Mixed media on paper"," Drawings","22 1/8 x 29 3/4in. (56.2 x 75.6cm)","Drawing","North America","United States",,"1977","Not on View","20th century","Titled in pencil, verso","Signed in pencil, verso: Thomas A. Rose","","","","Bettina Schwimmer; given to MIA, 1991.",,"Gift of Bettina Schwimmer","91.180","Artist: Thomas Rose","Artist","American","American, born 1942","%C2%A9 Thomas Rose","Arts of the Americas","In Copyright","valid",5511,3744,1,"1",0,,,"[""""]","media",0.035541225,,,,,,,,,,,,,,,,,,,,,,, "114548","Untitled (Patti Smith)","Mixed media collage on found printed cardstock"," Collages / Assemblages; Works on Paper","85 × 123 1/4 in. (215.9 × 313.06 cm) (mount without frame) 8 1/2 × 6 in. (21.59 × 15.24 cm) (object part, each element)","Collage","North America","United States","White Earth Nation","2012","G373","21st century","","Signed and dated on back of .1, in black ink: Frank Big Bear / Feb 17, 2012","","Born in Detroit Lakes, Minnesota, Frank Big Bear is an acclaimed Ojibwe painter, draftsman, and printmaker, whose work explores the diverse social, political, and cultural realities of Native American life, past and present. Though Big Bear's work is nearly always representational, it is typically characterized by mosaic-like patterns of layered and interwoven forms and colors that produce a distinctive abstracted reality. Many of his compositions have a fragmented quality, reminiscent of Cubist canvases. For this work, however, Big Bear repurposed discarded invitations to a 2007 exhibition at Bockley Gallery in Minneapolis, which featured photographs by Frank Stefanko of rocker/poet Patti Smith. In adulterating and collaging the images, Big Bear pursues issues of cultural identity and political and social conflict.","A grid of collage on postcards: 153 separate collages on Bockley Gallery exhibition announcements with a black and white photograph by Frank Stefanko of musician and artist Patti Smith, wearing a jacket, t-shirt, necklace and small hoop earrings; printed text on the back with information about an exhibition of Frank Stefanko photographs at the Bockley Gallery, Minneapolis.","The artist; [Bockley Gallery, Minneapolis]; sold to MIA., 2012.","From Patti Smith series","Gift of funds from the Bockley Brothers Family Fund of The Minneapolis Foundation in memory of Paul and Marilyn Bockley","2012.57.1-153","Artist: Frank Big Bear","Artist","American","American (White Earth Nation), born 1953","%C2%A9 Frank Big Bear","Arts of the Americas","In Copyright","valid",9815,5986,1,"1",1,,,"[""""]","media",0.035174765,,true,,,,,,,,,,,,,,,,,,,,, "95814","Descent/Ascent","Mixed media on canvas"," Paintings","16 13/16 x 14 13/16 in. (42.7 x 37.62 cm) (canvas) 21 1/4 x 19 1/4 in. (53.98 x 48.9 cm) (outer frame)","Painting","North America","United States",,"1994","Not on View","20th century","","On back, in green: descent/ascent | On back, in white: Todd Norsten 94","","","abstract image; creamy ground with tan teardrop-like, horizontal shapes, appearing to receed into background in pairs; larger shapes have blue centers","","From ","Gift of Martin Weinstein","2004.228.14","Artist: Todd Norsten","Artist","American","American, born 1967","%C2%A9 Todd Norsten","Global Contemporary Art","In Copyright–Educational Use","valid",2819,3197,0,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "95815","Untitled","Mixed media on paper"," Drawings","17 1/8 x 12 1/2 in. (43.5 x 31.75 cm) (sheet) 24 5/16 x 19 7/8 in. (61.75 x 50.48 cm) (outer frame)","Drawing","North America","United States",,"1993","Not on View","20th century","","LR, in pencil: Todd Norsten 93","","","red ovoid shape with black serpentine line on top of it; red, grey and green smudged ground","Martin G. Weinstein, Minneapolis; given to MIA, 2004.","From ","Gift of Martin Weinstein","2004.228.15","Artist: Todd Norsten","Artist","American","American, born 1967","%C2%A9 Todd Norsten","Arts of the Americas","In Copyright–Educational Use","valid",3881,5171,0,"1",1,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "101650","Sunset, Moorea","Gelatin silver print"," Photographs","15 1/4 x 19 9/16 in. (38.74 x 49.69 cm) (image, sheet) 22 x 28 in. (55.88 x 71.12 cm) (mount)",,,,,"July 29, 1993","Not on View","20th century","Signature and stamp","on mount, below image, in pencil: [FRED SCHEEL]","on verso, in blue: artist\'s stamp","","palm tree at L leaning over water; sailboat at center; dark cloudy sky","","From ","Gift of Frederick B. Scheel","2007.35.378","Photographer: Frederick B. Scheel","Artist","American","American, 1921-2011","%C2%A9 Frederick B. Scheel","Photography and New Media","In Copyright","valid",4682,3638,1,"1",0,,,"[""101650"",""101933""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "101166","Atitlan, Guatemala","Gelatin silver print"," Photographs","10 15/16 x 13 11/16 in. (27.78 x 34.77 cm) (image, sheet) 16 1/16 x 20 in. (40.8 x 50.8 cm) (mount)",,,,,"1964 (printed c. 1978)","Not on View","20th century","Signature and Date","on mount below image in pencil: [1978 DONALD ROSS]","","","river or lake; small village in foreground; mountains, partially cloud covered, in background","","From Portfolio One 1978; contained in wooden box with slide off lid and handle","Gift of Frederick B. Scheel","2007.35.360.5","Photographer: Donald Ross","Artist","American","American, 1912 - 1999","%C2%A9 Donald Ross","Photography and New Media","In Copyright","valid",4296,3418,1,"1",0,,,"[""100888"",""101166""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "101167","Ice, Mono Lake","Gelatin silver print"," Photographs","10 11/16 x 13 5/8 in. (27.15 x 34.61 cm) (image, sheet) 16 1/16 x 20 in. (40.8 x 50.8 cm) (mount)",,,,,"1952 (printed c. 1978)","Not on View","20th century","Signature and Date","on mount below image in pencil: [1952 DONALD ROSS]","","","thin layers of ice with trapped bubbles","","From Portfolio One 1978; contained in wooden box with slide off lid and handle","Gift of Frederick B. Scheel","2007.35.360.6","Photographer: Donald Ross","Artist","American","American, 1912 - 1999","%C2%A9 Donald Ross","Photography and New Media","In Copyright","valid",4276,3357,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "101649","Adrall and Fields near Seu D'Urgell, Spain","Gelatin silver print"," Photographs","15 1/2 x 19 5/8 in. (39.37 x 49.85 cm) (image, sheet) 22 x 28 in. (55.88 x 71.12 cm) (mount)",,,,,"May 30, 1983","Not on View","20th century","Signature and stamp","on mount, below image, in pencil: [FRED SCHEEL]","on verso, in blue: artist\'s stamp","","village UL; fields and a few buildings surrounding; road with six moving vehicles in top third of image","","From ","Gift of Frederick B. Scheel","2007.35.377","Photographer: Frederick B. Scheel","Artist","American","American, 1921-2011","%C2%A9 Frederick B. Scheel","Photography and New Media","In Copyright","valid",4702,3707,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "125831","Untitled","Color photograph"," Photographs","17 3/4 × 24 in. (45.09 × 60.96 cm) (image) 18 3/4 × 24 in. (47.63 × 60.96 cm) (sheet)","Photograph","Asia","Japan",,"c. 1975-1985","Not on View","20th century","","","on sticker on back, LRC: 026.100.3.06","","color image of Japanese couple in the style of woodblock printing; red ground; woman wears checked orange kimono; wooden strips in a grid over image","","From ","Gift of Kiyoko Lerner","2016.104.1","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",7587,5714,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "120209","Untitled (Federico Fellini from Behind)","Gelatin silver print"," Photographs","9 7/16 × 6 5/16 in. (23.97 × 16.03 cm) (image) 9 15/16 × 8 in. (25.24 × 20.32 cm) (sheet)","Photograph",,,,"c. 1960s","Not on View","20th century","Inscription on back, in pencil: [various]","","","","man, seen from back, seated in a director's chair with ""FEDERICO FELLINI"" on the backrest, wearing a tweed coat and a black beret, with arms up; stage (?) with figures in background","","From ","Gift of Shared Ventures in celebration of the 100th anniversary of the Minneapolis Institute of Arts","2014.132.1","","Artist",,,"","Photography and New Media","No Known Copyright","valid",2584,3846,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "126020","Eye in Lightbox","Mounted photographic print"," Photographs","20 × 28 1/4 × 1/8 in. (50.8 × 71.76 × 0.32 cm)","Photograph","Asia","Japan",,"1939 (printed later)","Not on View","20th century","","","","","black and white image of an eyeball amidst crisscrossing strings; black background; white circles at L and R","","From ","Gift of Kiyoko Lerner","2016.104.3","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",9186,6490,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "126021","Orange Wall","Cibachrome"," Photographs","10 5/8 × 14 in. (26.99 × 35.56 cm) (sheet)","Photograph","Asia","Japan",,"1985","Not on View","20th century","","","","","color photograph of an industrial, orange paneled wall; painted out text on wall at L; dark patch at R; handwritten sign at far R","","From ","Gift of Kiyoko Lerner","2016.104.4","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",4318,2909,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "126024","Untitled (Colorful Wall Painting Detail)","Color photograph"," Photographs","10 1/2 × 14 3/8 in. (26.67 × 36.51 cm) (sheet)","Photograph","Asia","Japan",,"c. 1975","Not on View","20th century","","","","","detail or painted wall: red/orange band across C of image with splatter painted black and red lines; black inky blotch at R; red form lower C","","From ","Gift of Kiyoko Lerner","2016.104.7","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",4658,3387,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "126023","Untitled (Colorful Wall Painting)","Color photograph"," Photographs","8 7/8 × 13 3/8 in. (22.54 × 33.97 cm) (image) 11 × 14 in. (27.94 × 35.56 cm) (sheet)","Photograph","Asia","Japan",,"c. 1975","Not on View","20th century","","","","","color image of a wall section with colorful painting: horizontal, brushed bands of color with dripping pigment; splattered crisscrossing lines; black and red blotches of wash","","From ","Gift of Kiyoko Lerner","2016.104.6","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",4337,2863,1,"1",0,,,"[""126022"",""126023""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "126025","Eggs and Box","Photograph on board"," Photographs","20 × 24 1/4 × 1/8 in. (50.8 × 61.6 × 0.32 cm)","Photograph","Asia","Japan",,"1938 (printed later)","Not on View","20th century","","on back, in marker: Eggs and Box / 1938 / Light Box Experiment / Nathan Lerner","Nathan Lerner stamp on back","","black and white image of two black eggs against a white background, amid crisscrossing strings; white circles at each side","","From ","Gift of Kiyoko Lerner","2016.104.8","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",7857,6507,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "135049","Sister Blister","Mixed media collage; bound volume"," Books; Works on Paper","3 3/4 × 2 1/8 × 3/8 in. (9.53 × 5.4 × 0.95 cm) (closed)","Zine",,,,"late 20th-early 21st century","Not on View","20th-21st century","Front cover, blue ink pen: FOR FLY","","","","Saddle stitched binding, photomechanical image of a fly printed in offset lithography on wove paper covers that are cut along the contour of the fly; 16 pp.","","From ","Fly Zine Archive, The Mary and Robyn Campbell Fund for Art Books and gift of funds from Mary and Bob Mersky","2018.86.1371","Artist: Etta Cetera","Artist",,,"","Global Contemporary Art","Copyright Not Evaluated","valid",1602,2243,1,"1",1,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "28245","Near Harumidori, Tokyo","Gelatin silver print"," Photographs","9 15/16 x 14 1/2 in. (25.24 x 36.83 cm) (image) 14 3/4 x 14 5/8 in. (37.47 x 37.15 cm) (mount)","Photograph","Oceania","Australia",,"20th century","Not on View","20th century","Inscription","","label verso: [70]; written verso [In the Street: (Title)]; (artist - not a signature)","","","","From ","Gift of Lora and Martin G. Weinstein","93.70.68","Photographer: Mark Strizic","Artist","Australian","Australian, 1928 - 2012","%C2%A9 Mark Strizic","Photography and New Media","In Copyright–Educational Use","valid",5128,3606,0,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "115016","Enrique Dimitri Magnussen","Archival pigment print"," Photographs","29 x 23 in. (73.66 x 58.42 cm) (image) 30 x 24 in. (76.2 x 60.96 cm)","Photograph","Europe","Poland",,"2011","Not on View","21st century","","","","","black and white image of a large egg-shaped potato on a two pronged fork lit from the left side","",,"Gift of funds from the Photography and New Media Affinity Group and Henry Roberts","2012.91.1","Photographer: Andrzej Maciejewski","Artist","Polish","Polish, born 1959","%C2%A9 Andrzej Maciejewski. All rights reserved.","European Art","In Copyright","valid",3455,4396,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "100927","Old St. Louis County Courthouse Reflected in the Equitable Building","Gelatin silver print"," Photographs","13 1/8 x 15 7/8 in. (33.34 x 40.32 cm) (image, sheet) 22 x 27 in. (55.88 x 68.58 cm) (mount)",,,,,"c. 1975-1976","Not on View","20th-21st century","Signature","below image, in pencil: [WILLIAM CLIFT]","","","center glass building with grid-like windows reflects older domed building; circular structures to R and L","",,"Gift of Frederick B. Scheel","2007.35.349","Photographer: William Clift","Artist","American","American, born 1944","%C2%A9 William Clift","Photography and New Media","In Copyright","valid",3802,3136,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "10724","Camera Work","Mixed media"," Photographs","11 1/2 × 8 1/4 × 3/4 in. (29.21 × 20.96 × 1.91 cm) (closed)","Photograph","North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From No. 2 (April 1903)","Gift of Julia Marshall","69.133.2","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Arts of the Americas","No Copyright–United States","valid",2931,3969,0,"1",0,,,"[""10724"",""1711"",""19425"",""19427"",""19433"",""82832"",""82833"",""82834""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "28093","N.Y. 815","Mixed media collage"," Collages / Assemblages","34 x 27 in. (86.4 x 68.6 cm)","Collage","Oceania","Australia",,"1988","Not on View","20th century","Inscribed in pencil, verso: N.Y. 815 1988/ M. Edwards","LR in pencil: M. Edwards 1988","Watermark: TH Saunders England","","","Dr. K. David Edwards, Rochester, Minn.; given to MIA, 1992.",,"Gift of Dr. K. David Edwards in loving and grateful memory of the artist","92.81.1","Artist: Margery Edwards","Artist","Australian","Australian, 1933-1989","%C2%A9 1988 Margery Edwards","Prints and Drawings","In Copyright","valid",4123,2983,1,"1",1,,,"[""""]","media",0.031870417,true,,,,,,,,,,,,,,,,,,,,,, "13227","Portrait of Sigismund Blumann","Gelatin silver print"," Photographs","9 7/16 x 7 7/16 in. (23.97 x 18.89 cm) (image) 9 5/8 x 7 5/8 in. (24.45 x 19.37 cm) (sheet)",,,,,"c. 1940s","Not on View","20th century","","","","","man facing forward, with body turned slightly toward PR; holding a pipe in his PR hand; PL hand on PR elbow; wearing dark suit and striped tie","",,"Gift of Thomas and Nancy High","2000.54.2","","Artist",,,"","Photography and New Media","No Known Copyright","valid",3825,4915,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "43136","Mid-rats","Color lithograph and pastel"," Prints","22 1/8 x 30 1/8 in. (56.2 x 76.52 cm) (image, sheet)","Print with drawing media","North America","United States",,"1981","Not on View","20th century","","Signed and dated, LR","","","State proof with addtions in pastel","",,"Vermillion Archival Collection, The John R. Van Derlip Fund","P.92.6.12","Artist: Red Grooms","Artist","American","American, born 1937","%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright","valid",3538,2658,1,"1",0,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "43865","The Empire State Building","Mixed media multiple consisting of wood, aluminum and color screenprinting"," Multiples","13 x 14 3/16 x 2 3/4in. (33 x 36 x 7cm)","Multiple","North America","United States",,"1997","Not on View","20th century","Signature, Plaque, Inscription see Signed brass identification label, verso","Signed LR: [Red Grooms]","","","Artist's multiple","Akasha Studio, Minneapolis",,"Gift of funds from David L. and Mary M. D. Parker","P.97.27.2","Artist: Red Grooms; Publisher: Akasha Studio, Minneapolis , Minneapolis; Fabricator: Akasha Studio, Minneapolis","Artist","American","American, born 1937","%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",3220,3017,1,"1",1,,,"[""""]","media",0.031870417,,,,,,,,,,,,,,,,,,,,,,, "1638","Skylight Two","Brushed aluminum, programmed light bulbs"," Sculpture; Lighting; Time-based Media","48 x 48 x 4 1/2 in. (121.9 x 121.9 x 11.4 cm)","Time-based Media","North America","United States","American","1966","Not on View","20th century","Signature, Date, Title, Inscription","Signed and dated, verso","","Skylight Two mechanically turns on and off, creating an everchanging light show. Viewers are encouraged to spend time in front of the artwork. Technology was an extension of the human body---our perception and capacities are irrevocably changed by it. Jones saw both the inherent dangers and limitless potential of technology. In experiencing the changing conditions of the gallery, Jones hoped viewers would be come attuned to our relationship with technology---in this case, electricity.","","","From Skylight","Gift of Bruce B. Dayton","67.34.1","Artist: Howard Jones","Artist","American","American, 1922-1991","Copyright of the artist%2C artist%27s estate%2C or assignees","Global Contemporary Art","In Copyright–Rights-holder(s) Unlocatable","valid",3400,3497,0,"1",0,,,"[""""]","media",0.030610792,,,,,,,,,,,,,,,,,,,,,,, "116298","Ehrenpforte (The Triumphal Arch of Maximilian I)","Woodcuts, etchings, letterpress"," Books","26 3/4 x 19 5/8 x 1 in. (67.95 x 49.85 x 2.54 cm) (closed)","Print","Europe","Germany",,"1515 (printed 1799)","Not on View","16th century","Inscription and Sticker inside first two pages and on last page, in pencil: inscriptions regarding history and provenance","","on inner front cover, on bookplate: [Arthur & Charlotte Vershbow]","The Triumphal Arch of Maximilian I is a landmark in the history of printmaking and an impressive early example of propaganda. At the time of its initial publication, The Triumphal Arch was the largest print that had ever been completed. Though Maximilian I was not rich enough to complete major architectural monuments, he had the vision to realize the influence of a printed equivalent that could assert his right to rule as well as his ability to do so. Fully assembled, the print measures more than eleven feet tall by nine feet wide. With this acquisition, Mia will have acquired in a remarkably short span of time the three great giant woodcuts of the Renaissance: Jacopo de’ Barbari’s View of Venice, Titan’s Red Sea, and Dürer’s Triumphal Arch.","maroon leather binding with gilding trim; ""ARC TRIOMPHAL D'APRES ALBERT DURER"" on spine; colorful endpapers with green, grey, yellow, red and white spots with black; text pages followed by woodcuts of portions of fantastic triumphal archway with figures (some with names and coats of armor), scenes of battle and other vignettes, animals, text and sculptural and architectural elements; detached green silk ribbon bookmark (inserted between pages)","[Ars Libri, Boston, 1981]; Charlotte and Arthur Vershbow, Newton, MA; their sale, part 2, Christie's, New York, April 10, 2013, lot 167; sold to MIA","From ","The Driscoll Art Accessions Endowment Fund","2013.46","Artist: Albrecht Dürer","Artist","German","German, 1471–1528","","European Art","Public Domain","valid",7375,8614,0,"1",1,,,"[""""]","media",0.029485008,,,,,,,,,"[{""title"":""The Triumphal Arch of Maximilian I"",""_id"":""116298"",""objectId"":""116298"",""description"":""It was the mother of all infomercials. When first published, the Arch was the largest print that had ever been made: more than eleven feet tall by nine feet wide, and every inch of it propaganda.
From 1508 until his death in 1519, Maximilian I reigned over the Holy Roman Empire, an ever-changing league of central European principalities. Despite his vast dominion, Maximilian was chronically short of cash and could not afford major architectural monuments preserving his memory. What he did have was vision—he understood the power of mass media and the influence that a print equivalent could have when sent throughout his far-flung territories. Mia's version of the Triumphal Arch, from the 1700s, serves as a paper monument to him.
"",""link"":""http://artstories.artsmia.org/#/o/116298"",""type"":""artstory""}]",,,,,,,,,,,,,, "114547","Liquor Store","Color inkjet print, MDF frame"," Photographs","12 3/4 x 17 5/8 in. (32.39 x 44.77 cm) (sight) 13 15/16 x 18 13/16 x 2 1/4 in. (35.4 x 47.78 x 5.72 cm) (outer frame)",,"North America","United States",,"2010 (printed 2012)","Not on View","21st century","Signature, Title and Edition","on backing board, in black ink: [Isaac Layman / Liquor Store / AP 1/3]","see Signed","","image looking into a corrugated cardboard box with cardboard pieces at interior; artist-made frame","","From ","Gift of funds from the Photography and New Media Affinity Group","2012.48","Photographer: Isaac Layman","Artist","American","American","%C2%A9 Isaac Layman. All rights reserved.","Arts of the Americas","In Copyright","valid",9018,6724,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "100923","Foley Square","Gelatin silver print"," Photographs","14 7/8 x 21 7/16 in. (37.78 x 54.45 cm) (image) 19 15/16 x 24 in. (50.64 x 60.96 cm) (sheet)",,,,,"1967 (print 1979)","Not on View","20th century","Signature, Title, Date and Stamp","on verso, in center, in pencil: [\""Foley Square\""/ WOLF VON dem BUSSCHE/ NEG. 1967/ PRINT. 1979]; on verso of mount, in pencil: [WOLF VON DEM BUSSCHE]","on verso in black: two artist\'s stamps","","snowy landscape-three large column bases in foreground; five figures middle ground, one with umbrella; trees in background","","From ","Gift of Frederick B. Scheel","2007.35.345","Photographer: Wolf Von Dem Bussche","Artist","American (born Germany)","American (born Germany), born 1934","%C2%A9 Wolf Von Dem Bussche","Photography and New Media","In Copyright","valid",5134,3565,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "101647","Cuenca, Province of Cuenca, Spain","Gelatin silver print"," Photographs","15 7/16 x 19 5/8 in. (39.21 x 49.85 cm) (image, sheet) 22 x 28 1/16 in. (55.88 x 71.28 cm) (mount)",,,,,"May 24, 1983","Not on View","20th century","Signature and stamp","on mount, below image, in pencil: [FRED SCHEEL]","on verso, in blue: artist\'s stamp","","large church UR on hill above valley; village homes in valley below; fields (vineyards?) in foreground; steep hillside opposite church, UL; two figures on road below church","","From ","Gift of Frederick B. Scheel","2007.35.375","Photographer: Frederick B. Scheel","Artist","American","American, 1921-2011","%C2%A9 Frederick B. Scheel","Photography and New Media","In Copyright","valid",4697,3689,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "101651","Canal with Spiral Slip Posts, Venice","Gelatin silver print"," Photographs","12 1/8 x 18 1/4 in. (30.8 x 46.36 cm) (image) 15 15/16 x 20 in. (40.48 x 50.8 cm) (sheet)",,,,,"September 17, 1998","Not on View","20th century","Signature and stamp","on sheet, below image, in pencil: [FRED SCHEEL]","on verso, in blue: artist\'s stamp","","small park-like area at L overlooking canal with spiral painted posts and wood docks; buildings across canal; decorative lights at L","","From ","Gift of Frederick B. Scheel","2007.35.379","Photographer: Frederick B. Scheel","Artist","American","American, 1921-2011","%C2%A9 Frederick B. Scheel","Photography and New Media","In Copyright","valid",5138,3431,1,"1",0,,,"[""101651"",""102339""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "125917","Oil Drum Image #10, Tokyo","C-print"," Photographs","6 5/8 × 9 7/16 in. (16.83 × 23.97 cm) (image) 8 × 9 7/8 in. (20.32 × 25.08 cm) (sheet)","Photograph","Asia","Japan",,"1976","Not on View","20th century","","on back, in black ink: \""Oil Drum Image #10\"" | on back, in blue ink: \""Oil Drum Image\"" / Tokyo, 1976 | on back, in black ink: Nathan Lerner / 1976","","","abstract image; black primarily vertical drips on green and yellow ground, separated with a horizontal band of brown; some reddish and darker green flecks","","From ","Gift of Kiyoko Lerner","2016.104.2","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",3010,2036,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "120229","Sadat at the Pyramids at Giza","Gelatin silver print"," Photographs","16 11/16 × 11 3/16 in. (42.39 × 28.42 cm) (image) 18 1/16 × 12 1/2 in. (45.88 × 31.75 cm) (sight) 27 9/16 × 21 1/4 × 1 1/2 in. (70.01 × 53.98 × 3.81 cm) (outer frame)","Photograph","Africa","Egypt",,"1977","Not on View","20th century","","LLC below image, in pencil: Sadat - Giza] LRC below image, in pencil: David Burnett \'77","","","standing man wearing a dark suit, with his hands held behind him, in LRQ, looking a pyramid","","From ","Gift of Shared Ventures in celebration of the 100th anniversary of the Minneapolis Institute of Arts","2014.132.12","Photographer: David Burnett","Artist","American","American, born 1946","%C2%A9 David Burnett","Photography and New Media","In Copyright","valid",3597,5373,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "120210","Ray Charles","Gelatin silver print"," Photographs","12 5/16 × 8 1/4 in. (31.27 × 20.96 cm) (image) 13 15/16 × 10 15/16 in. (35.4 × 27.78 cm) (sheet)","Photograph",,,,"1966","Not on View","20th century","Signature and Date","LRC below image, in black ink: [Bill Ray \'66]","","","view from back of stage of man playing piano at center and man playing upright bass at left, with drum and cymbals in LLC; silhouetted figures in three balconies","","From ","Gift of Shared Ventures in celebration of the 100th anniversary of the Minneapolis Institute of Arts","2014.132.64","Photographer: Bill Ray","Artist","American","American, born 1936","%C2%A9 Bill Ray%E2%80%94Time %26 Life Pictures%2FGetty Images","Photography and New Media","In Copyright","valid",3464,5192,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "126022","Untitled (Colorful Wall Painting)","Color photograph"," Photographs","4 1/2 × 6 5/8 in. (11.43 × 16.83 cm) (sheet) 7 5/8 × 10 5/8 in. (19.37 × 26.99 cm) (mount)","Photograph","Asia","Japan",,"1975","Not on View","20th century","","","penci marks URC of mat","","color image of a wall section with colorful painting: horizontal, brushed bands of color with dripping pigment; splattered crisscrossing lines; black and red blotches of wash; mounted to white mat","","From ","Gift of Kiyoko Lerner","2016.104.5","Photographer: Nathan Lerner","Artist","American","American, 1913 - 1997","%C2%A9 Estate Nathan Lerner %2F Kiyoko Lerner %2F Artists Rights Society %28ARS%29%2C New York","Photography and New Media","In Copyright","valid",2142,1428,1,"1",0,,,"[""126022"",""126023""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "126073","The Living Need Light, the Dead Need Music","Color video with surround sound audio"," Digital Art; Time-based Media","25 minutes, 15 seconds","Video","North America","United States",,"2014","Not on View","21st century","","","on bottom, on sticker: The Living Need Light, The Dead Need Music / Edition 05 of 08","","silver metal hard drive and power cord received imagery includes narrow streets, traditional Southeast Asian musicians, brass band, snake charmer, fire breather, sword swallower, traditional funeral ceremonies with tables with memorials to deceased, cemetery scenes, brass band wading in water with boat with coffin and snake sculpture; music, vocals, poetry--subtitled","","From ","Gift of funds from Nivin MacMillan","2016.103","Artist: Propeller Group","Artist",,,"%C2%A9 The Propeller Group. Courtesy of James Cohan%2C New York","Global Contemporary Art","In Copyright–Educational Use","valid",2100,1181,0,"1",1,,,"[""""]","media",0.028199606,,,,,,true,,,,,,,,,,,,,,,,, "127482","Untitled","Mixed media on paper"," Paintings; Works on Paper","11 1/4 × 30 3/16 in. (28.58 × 76.68 cm) (sheet) 15 1/2 × 34 1/8 × 1 1/8 in. (39.37 × 86.68 × 2.86 cm) (outer frame)","Painting on paper","North America","United States",,"2012","Not on View","21st century","","","","Andrea Carlson’s Untitled presents sweeping lines of strong colors that melt into each other, creating a flowing, dynamic painting resembling the movement of water. While most of Carlson’s work is monumental in scale and addresses important issues of representation, history, and identity by incorporating figures, words, and repeating designs, Untitled is a smaller, intimate painting for the artist.","abstract image with swirls and repeating linear patterns like ripples on water; many colors--medium and light blue, purple, green, red, white, black","",,"Gift of Bill and Krista Thorburn","2017.94.6","Artist: Andrea Carlson","Artist","American","Anishinaabe (Ojibwe), American, born 1979","%C2%A9 Andrea Carlson","Global Contemporary Art","In Copyright","valid",12929,5031,1,"1",0,,,"[""""]","media",0.028199606,,true,,,,,,,,,,,,,,,,,,,,, "30635","Femme Ciblee (Bouleau)","Birch, mixed media"," Sculpture; Collages / Assemblages","37 x 8 1/4 x 6 1/2in. (94 x 21 x 16.5cm)","Sculpture","Europe","Belgium",,"1997","Not on View","20th century","","On base and above ankle ring, in black ink: Mestach","","When a shield is worn out, the framework remains.","birch log shaped like torso and legs; 1/4 spherical head; wood ring around proper left ankle with other rings around neck; round wood disk at top of chest","",,"Gift of funds from Bob Ulrich and The Ethel Morrison Van Derlip Fund","98.157","Artist: Jean Willy Mestach","Artist","Belgian","Belgian, 1926-2014","%C2%A9 Jean Willy Mestach","Global Contemporary Art","In Copyright–Educational Use","valid",3810,4756,0,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "31968","Portrait of Sigismund Blumann","Gelatin silver print"," Photographs","13 x 10 3/16 in. (33.02 x 25.88 cm) (image) 17 1/2 x 13 15/16 in. (44.45 x 35.4 cm) (mount)",,,,,"20th century","Not on View","20th century","Title; Signature; Inscriptions","","in graphite, below LLC of sheet: [Sigismund Blummann] (Sic); in graphite, below LRC of sheet: illegible signature and [ARPS]; mount verso, in graphite, ULC: [M16 Portrait of Sigismund Bluman]; in graphite, LLC: [TR1510.104]; in graphite, LRC: [18]","","man with white hair turned to PL seen from back; PR hand behind back; black border","",,"Gift of James D. Gollin","99.231.37","","Artist",,,"","Photography and New Media","No Known Copyright","valid",3557,4585,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "43841","Under the El","Color lithograph, with oil, pastel and graphite additions; working proof"," Prints","29 5/8 x 40 1/4 in. (75.25 x 102.24 cm) (image, sheet)","Print with hand-applied media","North America","United States",,"1990","Not on View","20th century","LR: Working Proof - archive","LR:Duncan Hannah - 9.11.90","LL: VEL chop mark","","View from beneath a subway platform of a wide open street; a pedestrian on L walks away from the viewer; across the street and to the R is a large white billboard and some non-descript buildings; subtle to increasing detail towards foreground; colors: black, pale green, cream","Vermillion Editions Limited, Minneapolis; Steven M. Andersen, Minneapolis; Glen D. Nelson, Minneapolis; given to MIA, 1998.",,"Vermillion Archival Collection, Gift of Dr. Glen D. Nelson","P.98.18.4","Maker: Duncan Hannah","Artist","American","American, 1952–2022","%C2%A9 Duncan Hannah","Global Contemporary Art","In Copyright","valid",3834,2835,1,"1",0,"See VEL 125",,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "70180","Sunday October 26th, 1980","Photograph, mixed media"," Photographs","16 5/16 x 22 in. (41.43 x 55.88 cm) (image, sheet)",,,,,"2003","Not on View","21st century","Signature, title and mark ","LLC in white script: [Sunday October 26th, 1980- Cordobes and beyond]; LRC in white script: [Peter Beard Box 603/ Montauk]","In red, on back: [#3171]","","open book at center with majority of text smeared or scribbled out; images collaged around outside edges; magazine clipping of woman's mouth at TL extending off of sheet; red and white pigment throughout","",,"The McClurg Photography Purchase Fund","2003.108.2","Photographer: Peter Beard","Artist","American","American, 1938-2020","%C2%A9 Peter Beard %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright","valid",2656,1984,1,"1",0,,,"[""""]","media",0.028199606,,,,,,,,,,,,,,,,,,,,,,, "21047","Lill","Black and white film with optical sound"," Photographs; Time-based Media",,"Film","North America","United States",,"20th century","Not on View","20th century","","","","","","","From ","National Endowment for the Arts Photography Grant and the Kate and Hall J. Peterson Fund","76.20.2","Photographer: Joan Strommer","Artist",,,"%C2%A9 Joan Strommer","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.025688011,,,,,,,,,,,,,,,,,,,,,,, "137332","Lucy: The 3.5 Million Year Old Lady","Mixed media on wood and fabric"," Sculpture; Textiles; Collages / Assemblages","15 3/8 × 13 × 12 3/8 in. (39.05 × 33.02 × 31.43 cm) (overall)","Textile-based sculpture","North America","United States",,"1977","Not on View","20th century","","verso in black: Lucy: The 3.5 million year old lady / 1989 / by Faith Ringgold","verso in black: mixed media wood and fabric / 12 1/2\"" x 12\"" x 12\""","Faith Ringgold’s sculpture was inspired by the 1974 discovery in Hadar, Ethiopia, of “Lucy,” a partial female skeleton belonging to an extinct species in human ancestry, Australopithecus afarensis. This important archaeological find located in both space and time the shift to upright walking on two legs, a hallmark of human evolution. News of “Lucy” inspired Ringgold to travel to Africa in 1976. Fabrics she gathered on this trip, along with items acquired from Ringgold’s mother, a former fashion designer, were included in the sculpture. The work is reminiscent of an open casket which contains an effigy of Lucy flanked by miniature vases displaying fabric flowers.","raised, fabric covered alter; striped fabric covering both levels of alter and back piece; black fringe around bottom and back edges, green, red, and pink braided trim with gold sequins on all edges, and a pink, patterned fabric flower in each back corner; a white cut out of Africa with handwritten black text is attached to the backpiece, as are two black and pink beaded pendents; on the upper level of the alter sits an ornate, silver casket with four blue green stones, irridescent gems, and silver floral decorations around a cut out on lid, which is open to a black, fabric female figure with blue hair and features, wrapped in white irridescent sequins; the silver box is flanked by two gold vases with red fabric flowers with braided and sequined trim around bases; set into the alter in front of the silver box is a flat, brown compact with gold trim and smoothed stones set into a circle on the lid","",,"The William Hood Dunwoody Fund","2020.12","Artist: Faith Ringgold","Artist","American","American, born 1930","%C2%A9 Faith Ringgold %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright","valid",6298,7872,1,"1",0,,,"[""""]","media",0.025419485,,,,true,,,true,,,,,,,,,,,,,,,, "70154","Khadija and '78 Diary","Photograph, mixed media"," Photographs","18 1/8 x 29 1/4 in. (46.04 x 74.3 cm) (image, sheet)",,,,,"2003","Not on View","21st century","Signature, title, inscription and mark LRC in black script: [Khadija + \'78 diary/ Giant Polaroid day NYC]; LLC in white: [1978 diary]","LRC in white script: [Peter Beard 205 W. 57 N.Y.C.]; title mixed in with inscription","In red, on back: [#3167]","","two prints, taped together at back vertically; left print: partial view of page and side view of pages behind; sliver fist atop pages; TLC, photograph of giraffe attached with paper clip; LRC, pink matchbook glued onto print; R print: collage of fashion photographs; photograph of a book at L edge center, extending onto L print; feather attached to print at LL edge","","From ","The McClurg Photography Purchase Fund","2003.108.1","Photographer: Peter Beard","Artist","American","American, 1938-2020","%C2%A9 Peter Beard %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright","valid",2932,1864,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "117070","Oval on a Cosmos Ball","Plastic, mixed media"," Sculpture","10 3/8 × 7 1/4 × 7 3/8 in. (26.35 × 18.42 × 18.73 cm)","Intermedia","Asia","Japan",,"1999","Not on View","20th century","Marks and Sticker","","printed on c: [norton family / christmas project / 2000 / takashi murakami / music by zakyumiko / hiropon factory]; imprinted on base: [Peter Norton Family Christmas Project 2000]; [by Takashi Murakami]; [Produced by CUBE] sticker bottom of base: [Made in China]","","small white plastic figure with large head, blonde hair, two mouths, and many green eyes sits in meditation position atop a green plastic orb covered with brightly colored flowers, each smiling at the center; orb comes apart revealing small CD supported on white base with blue swirl; underside of top of orb is decorated with white lotus with eyeball at center; sits on silver base with eyeballs","","From ","Gift of the Clark Center for Japanese Art & Culture","2013.29.128a-d","Artist: Murakami Takashi","Artist","Japanese","Japanese, born 1962","%C2%A9 Murakami Takashi","Asian Art","In Copyright","valid",2592,3872,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "123670","1902, 1903, 1904, 1909, 1911","Oil and mixed media on canvas"," Paintings","28 1/2 × 34 1/2 in. (72.39 × 87.63 cm) (sight) 30 5/8 × 36 11/16 × 2 in. (77.79 × 93.19 × 5.08 cm) (outer frame)","Painting","North America","United States",,"c. 1950s","Not on View","20th century","","","","","primitive painting with four horizontal rows of imagery; bright colors, white ground; ""1909"" at left edge in black, ULQ; ""1902"", in black, and ""1903"", in blue in URQ; ""1904"", ""1909"" and ""1911"" at bottom edge near center in yellow; image of standing bearded man (Jesus?) in URC wearing green garments, with pants tucked into short boots, holding a yellow loop of rope encircling 12 heads of bearded men (the disciples?); small female figure with very long blonde hair at top center, wearing white and green; kneeling figure with Star of David on waist sash pointing at two goats at right edge above center; brown and blue rocket at center right; lower section has two very tall female figures in LLQ--one with long dark hair, one with long blonde hair, accompanying two shorter women with dark hair in a braid, each wearing a long cape; three trees at bottom; flames in LLQ; white frame","","From ","Gift of the Karen Lennox Gallery, Chicago","2015.85","Artist: Peter Charlie Besharo","Artist","Syrian-American","Syrian-American, 1898 - 1960","Copyright of the artist%2C artist%27s estate%2C or assignees","Arts of the Americas","In Copyright–Rights-holder(s) Unlocatable","valid",8876,7375,0,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "91894","Strata #154","Gold, copper, brass, and aluminum metalpoint on clay-coated video media paper"," Drawings","15 15/16 x 16 1/16 in. (40.48 x 40.8 cm) (image) 18 1/16 x 18 1/16 in. (45.88 x 45.88 cm) (sheet)","Drawing","North America","United States",,"1997","Not on View","20th century","Signature, title, date and inscription verso, top center, in pencil: [top]","LRC, in pencil: Susan Schwalb; verso, LRC, in pencil: \""Strata #154\""/ gold/ copper/ brass/ aluminum/ 1997","","Susan Schwalb has adapted the venerated Renaissance technique of silverpoint to create sensuous and evocative abstractions. As seen in Strata #154, her drawings consist of patterns of repeating and interrupted horizontal lines and forms, meticulously hand drawn with a stylus of silver or other metal. Using subtle shifts of luminous tone and color, she creates a shimmering atmospheric effect often inspired by her own specific memories of light. Though her use of metalpoint is somewhat unconventional, her abstract drawings convey both the spirit and beauty of this centuries-old technique.","irregular horizontal bars of various greys and browns","The artist, Watertown, Mass.; sold to MIA, 2004.","From ","The Richard Lewis Hillstrom Fund","2004.153","Artist: Susan Schwalb","Artist","American","American, born 1944","%C2%A9 Susan Schwalb","Arts of the Americas","In Copyright","valid",1870,1920,1,"1",1,,,"[""""]","media",0.024528798,true,,,,,,,,,,,,,,,,,,,,,, "113257","Coat of Invocation","Mixed media with handmade paper (mulberry fibers, commercial envelopes, cotton thread, matte medium, acrylics, Rit® dye, Japanese green tea)"," Textiles","31 x 45 1/4 x 1 1/2 in. (78.74 x 114.94 x 3.81 cm)","Coat","North America","United States",,"2011","Not on View","21st century","","","","Coat of Invocation demonstrates the artist's interest in the protective powers of skillfully made garments that incorporate unconventional materials. In this case, she has constructed a coat intended to be worn by a loved one negotiating cancer. She created the piece out of commercially made envelopes, which she dyed, stained and painted. The style of the coat follows the pattern of a Japanese happi coat, and the artist also draws on the Shinto tradition of making written requests to a higher power, as each envelope contains a wish for the relative's recovery. The soft golden and brown tones of the coat's exterior, combined with the red interior, give a sense of warmth and bodily presence to the coat, calling to mind the person for which it was made.","open coat covered with small envelopes on all outer surfaces; yellow placket with dark red paper lining","","From ","Anonymous gift","2013.7","Artist: Erica Spitzer Rasmussen","Artist","American","American, born 1968","%C2%A9 Erica Spitzer Rasmussen","Arts of the Americas","In Copyright","valid",9317,6885,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,true,,,,, "136984","Minneapolis Skyline","Mixed media on paper"," Drawings","13 × 10 1/4 in. (33.02 × 26.04 cm) (sheet)","Drawing","North America","United States",,"1989","Not on View","20th century","","LR in pencil: R Haas | LL in pencil: 89 | BC in pencil: Mpls. Sky","","Richard Haas gained fame in the 1970s for his enormous outdoor murals that transformed blank, drab building facades into grand architectural fantasies. In the early to mid-1960s, he was a graduate student and instructor at the University of Minnesota. In 2019, he wrote “I have always retained a strong and positive memory of your city and especially of your institution which I visited on a regular basis and where I learned so much about the history of art.” He has periodically returned to make studies of the architecture of Minneapolis. Here the viewpoint seems to be near the Thrivent Financial building looking toward the Foshay Tower.","urban scene of several gray and blue buildings under gray sky; skyway tunnel and three round street lights visible in foreground; Foshay Tower on R","Richard Haas, New York.","From ","Gift of the artist","2019.153.11","Artist: Richard Haas","Artist","American","American, born 1936","%C2%A9 Richard J. Haas %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","Arts of the Americas","In Copyright","valid",6660,8297,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,true,,,,,,,,, "142991","Untitled","Mixed media with collage, graphite, and ink on board"," Collages / Assemblages; Works on Paper","17 1/2 × 8 1/2 in. (44.5 × 21.6 cm) 29 1/8 × 19 5/8 × 1 1/2 in. (74 × 49.8 × 3.8 cm) (outer frame)","Collage","North America","United States",,"June 1936","Not on View","20th century","","ULC in pencil: Biederman 6/35","","This modest drawing represented a key step in Charles Biederman's embrace of abstraction and the possibilities it opened up in his practice. He worked out new ideas in form through drawing and collage and transferred these ideas into paintings and sculpture. Working on paper allowed him to play, take risks, and see where these quick ideas might point.","abstract image with linear geometric forms (triangles, quadrilaterals) with three crescents (two in LLQ, one near top left of center) and biomorphic curvilinear form with shaded circle inside in LRQ; black on tan with cream and light tan elements; received in gold frame","","From ","Gift of Martin Weinstein","2021.123.2","Artist: Charles Biederman","Artist","American","American, 1906–2004","","Arts of the Americas","In Copyright","valid",4869,9870,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "109131","Hurdy Gurdy Man (Chrysanthemums)","Video components"," Digital Art; Multiples; Time-based Media","7 x 8 3/4 x 1 1/4 in. (17.78 x 22.23 x 3.18 cm) (computer)","Video projection","North America","United States",,"2006","Not on View","20th century","","","","Hurdy Gurdy Man is an utterly contemporary update to the classic still life, and a signature example of the artist’s work. Steinkamp is at the forefront of artists dealing with digital projection and manipulation. Like most of the artist’s other video installations, Hurdy Gurdy Man explores ideas of motion and perception, testing our responses to forms that are simultaneously familiar and impossible. The contrast between the naturalistic appearance of the flower blossoms in the piece and the artificiality of their movement is an example of the disorienting experiences we construct in our digitized world.","white Eee computer, two white power cords two DVD-ROMS containing .tiff files certificate of authenticity (copy in object file) installation requirements in object file","",,"Gift of funds from Barbara Steiner, Diane and David Lilly, and Samuel D. and Patricia N. McCullough","2010.57","Artist: Jennifer Steinkamp","Artist","American","American, born 1958","%C2%A92006 Jennifer Steinkamp","Global Contemporary Art","In Copyright–Educational Use","valid",9000,6750,0,"1",0,,,"[""""]","media",0.024528798,true,,,,,,,,,,,,,,,,,,,,true,, "6308","La Fidelidad del Dolor (The Fidelity of Pain)","Gelatin silver print with mixed media application, on wood"," Photographs","39 3/8 x 39 3/8 x 2 in. (100.01 x 100.01 x 5.08 cm)",,"North America","Guatemala",,"1991","Not on View","20th century","Signature","","Luis Gonzalez Palma","“A face, to me, is a metaphor for sadness.” – Luis González Palma Faces are abundant in Luis González Palma’s work. Underlying the mesmerizing gaze of his anonymous portraits is a desire to give visibility and dignity to Guatemala’s indigenous Maya, who have been subjected to violence, marginalization, and discrimination as a result of the conquest and subsequent colonization by the Spanish beginning in the 16th century. This image is typical of Palma’s early period; however, faces and figures of Maya children and adults are an almost constant presence across his body of work. In speaking about his objectives as an artist, Palma has said, “My interest is to bring people to the same level. I come from a very racist country. The Indians are a marginalized people in Guatemala…” He also incorporates symbolic references to the complexity of contemporary Maya culture’s blending of indigenous and foreign influences, such as the angel wings and lace veil of Catholicism present in this image.","","","From ","Gift of Rusty and Burt Cohen","2010.64","Artist: Luis González Palma","Artist","Guatemalan","Guatemalan, born 1957","%C2%A9 Luis Gonz%C3%A1lez Palma%2C Courtesy of Schneider Gallery","Arts of the Americas","In Copyright","valid",3710,3660,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,true,,,,,, "120056","Oracles (triptych)","Video"," Digital Art; Time-based Media","6 minutes, 10 seconds","Video","Europe","Italy",,"2007","Not on View","21st century","Signature and Inscription on front of cover, in black: Maïmouna Guerresi / Oracles / Ed. 2/5]","on card affixed to inner cover of presentation box, in black ink: [Maimouna Guerresi]","","","single image video with three images--dark-skinned woman wearing orange dress and cone-shaped hat, olive-skinned woman wearing white dress with white veil with white liquid (milk?) being poured on her forehead, white woman wearing black dress and black head covering looking up; DVD in brown faux woodgrain cardboard case with black and white photographic image of woman wrapped in fabric with text in white: ""ORACLES Maïmouna Guerresi (Arabic text)"" and ""Oracles (triptych), 2007, DVD, Min. 006:10' Director: Maïmouna Gurresi, All right reserved, Maïmouna Gurresi""","",,"The Ted and Dr. Roberta Mann Foundation Endowment Fund","2014.43.2","Artist: Maïmouna Guerresi","Artist","Italian (active Senagal)","Italian (active Senagal), born 1951","%C2%A9 Ma%C3%AFmouna Guerresi","Arts of Global Africa","In Copyright","valid",600,422,1,"1",0,,,"[""""]","media",0.024528798,true,,,,,,,,,,,,,,,,,,,,,, "126236","Hyaku Monogatari II","Mixed media over lithograph on paper"," Drawings; Works on Paper","12 × 22 in. (30.48 × 55.88 cm) (sheet)","Drawing","North America","United States",,"1997","Not on View","20th century","Inscriptions URQ, in pencil: Hyaku Monogatari / the Hundred Ghost Stories inspired by Zen Hokusai-itsu / by Bartow / represented by the Froelick Adelhart Gallerie / Portland, Oregon USA 97209 / Fx 503 222 103 | (and along R edge): Paper nao 1291220 Sengoku Bunkyoku Tokyo T112 | (and along bottom R): Azabukasumit You Gallery / 1-9 Nisiazabu / Minatoku Tokyo T 336 / Tel 033944 470 / Fx 03 3949 4699","Signed and dated in pencil lower edge L of C: Bartow \'97","(square seal) LRQ; (round seal) LRQ","","Abstracted skull at L with red ring around PL eye and abstracted black body extending with arched spine towards R; red borer; ink spatters; text in red at top R; pencil printed text URQ","",,"Gift of the Rick Bartow Estate and the Froelick Gallery in honor of the Avery family","2016.116.1","Artist: Rick Bartow","Artist","American","American (Wiyot and Yurok), 1946 - 2016","%C2%A9 Rick Bartow%2C Hyaku Monogatari II %2F Froelick Gallery","Arts of the Americas","In Copyright–Educational Use","valid",7204,4076,0,"1",0,,,"[""""]","media",0.024528798,,true,,,,,,,,,,,,,,,,,,,,, "137807","Cloudless Blue Egress of Summer","HD video, stereo, color, 2-channel, synchronous loop"," Time-based Media","13 minutes, 15 seconds","Video",,,,"2019","Not on View","21st century","","","","Cloudless Blue Egress of Summer recalls the history of the Castillo de San Marcos, (built c. 1672), St. Augustine, FL. The fort was used as a prison for Indigenous peoples during the Second Seminole Wars (c. 1835-1842) and the Indian Wars (c. 1875- 1887). The Castillo is where Brigadier General Richard Henry Pratt developed his plan of forced assimilation, best known for the dictum of “kill the Indian in him, and save the man.” Highlighted in the film are moments ranging from Seminole Chieftain Coacoochee’s escape (1837) to ledger drawings made by the prisoners of the Indian Wars (c. 1875-1887). Cloudless Blue Egress of Summer demonstrates the persistence of presence and memory in the face of cultural genocide through, as Hopinka states, “small samplings of space and hope.”","received on Lacie Mobile High Performance external SSD, 500GB (small grey rectangular drive with part of a sticker on front)","","From ","The George and Marjorie Dixon Endowment Fund","2020.2.2","Artist: Sky Hopinka","Artist","American","American (Ho-Chunk Nation/Pechanga Band of Luiseño Indians), born 1984","%C2%A9 Sky Hopinka","Global Contemporary Art","In Copyright–Educational Use","valid",2880,1614,0,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "138140","The Hiroshima Bomb","Acrylic, oil, and mixed media on paper"," Drawings; Paintings; Works on Paper","44 1/2 × 81 1/4 in. (113.03 × 206.38 cm) (sheet) 48 1/8 × 84 7/8 × 3 in. (122.24 × 215.58 × 7.62 cm) (outer frame)","Painting on paper","North America","United States",,"1984","Not on View","20th century","","LRC, in back pigment: Arneson","","","red pigments with black shading; large bomb in center; text at top of image that reads ""9000 lbs. ""LITTLE BOY""= 12,500 tons of T.N.T....""; heart etched in bottom left of body of bomb, with the inscription reading ""FERMI OPPENHEIMER TELLER"" inside of the heart; blue print of bomb at bottom center of image; grid with tiny black dots in LLC: white, small airplane in ULC","The artist, Benicia, Calif.; Estate of Robert Arneson; [George Adams Gallery, New York, sold to Mersky, July 2020]; Robert B. Mersky, Minneapolis; given to MIA, 2020.",,"Gift of Mary and Bob Mersky","2020.96.54","Artist: Robert Arneson","Artist","American","American, 1930 - 1992","","Prints and Drawings","In Copyright","valid",10508,5836,1,"1",1,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "143412","A Great Day for Walking My Lizard","Mixed media on paper"," Drawings; Works on Paper","29 1/4 × 39 5/8 in. (74.3 × 100.6 cm) (sight) 29 13/16 × 40 × 1 in. (75.7 × 101.6 × 2.5 cm) (outer frame)","Drawing","North America","United States",,"1966","Not on View","20th century","","","","","cartoonish image of a walking figure wearing a brown striped one-piece garment and yellow shoes, with a hole in the toe of one shoe and to back ripped out of the garment, with a face with many pink tentacles with eyes protruding from it and dark blonde hair; pink cat with arched back, LRC; orange cat at center right; maroon house with blue door and blue road/sidewalk extending from doorway at left; radiating sun with oranges, fluorescent red, yellow, and blue; mediums include crayon (?), pencil, marker, and spray paint; received glazed and in gold strip frame","",,"Gift of Jonas and Betsy Dovydenas","2022.28.4","Artist: Paul Lamantia","Artist","American","American, born 1938","","Arts of the Americas","In Copyright","valid",9289,6881,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "142762","Untitled","Mixed media collage"," Collages / Assemblages; Works on Paper","10 1/4 × 7 3/4 in. (26 × 19.7 cm) 19 × 16 1/4 in. (48.3 × 41.3 cm) (outer frame)","Collage","North America","United States",,"c. 1947","Not on View","20th century","","Signed verso, lower center: RW Pousette-Dart","","In the early 1940s, Richard Pousette-Dart made a note to himself: “Mine is an abstract vision fired by mystic shapes not by description.” Even in childhood he was familiar with “primitive” art and had a desire to move beyond waking experience. Along with his older peers Jackson Pollock and Adolph Gottlieb, he investigated the potential of Carl Jung’s psychoanalytic theories, especially the collective unconscious and universal symbols. In this untitled collage from 1947, Pousette-Dart integrated found materials and fragmented imagery, combining elements from popular culture, advertising, and historical and personal references, including a photograph of his wife and daughter. Embracing chance and unexpected associations, Pousette-Dart’s unconventional technique and use of everyday materials foreshadows the emergence of the Neo-Dada movement in the 1950s, led by artists such as Robert Rauschenberg, Alfred Leslie, and Jasper Johns. In a blank-verse note of 1940, Pousette-Dart described the artist–art beholder nexus: ""Great art leaves half the creation to the onlooker, gives the key to a creative experience. Draws the spectator into infinite mysteries.""","","",,"Gift of Mary and Bob Mersky","2023.102.5","Artist: Richard Pousette-Dart","Artist","American","American, 1916 - 1992","","Arts of the Americas","In Copyright","valid",3876,5073,1,"1",0,,,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "58871","Peking Delight","Mixed media multiple consisting of pochoir, screenprint, rubber stamps, and hand-painting on wood, cut out and glued; with collage (chopsticks)."," Multiples","16 1/4 x 18 1/2 x 6 in. (41.28 x 46.99 x 15.24 cm) (image)","Multiple","North America","United States",,"1979","Not on View","20th century","Signature, Edition, Inscription Verso, stamped in silver ink: [ARTIST / PROOF / 1/10] Verso, printed on brass plate: [COPYRIGHT RED GROOMS, 1979 / PUBLISHED BY BROOKE ALEXANDER, INC. / MARLBOROUGH GRAPHICS, INC. / PRODUCED AT VERMILLION EDITIONS, LTD.]","Signed UL, in red tempera paint: [Red Grooms] ","","","Artist's multiple","Vermillion Editions Limited, Minneapolis; sold to MIA, 1983. ",,"Vermillion Archival Collection, Gift of funds from The Northern Star Foundation and The Hersey Foundation","P.83.59.27","Artist: Red Grooms; Publisher: Co-published by Brooke Alexander, New York; Publisher: Co-published by Marlborough Graphics, New York; Printer: Printed and fabricated at Vermillion Editions Limited, Minneapolis","Artist","American","American, born 1937","%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York","Global Contemporary Art","In Copyright","valid",3506,3186,1,"1",1,"VEL 102 Knestrick 76",,"[""""]","media",0.024528798,,,,,,,,,,,,,,,,,,,,,,, "23765","Picture #12","Magazine"," Photographs",,,"North America","United States",,"1979","Not on View","20th century","","","","","","","From ","Gift of Dr. Lee A. Kitzenberg","83.10.14.1","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.023276825,,,,,,,,,,,,,,,,,,,,,,, "23770","Poster, one of eighteen",""," Photographs",,"Poster, one of eighteen","North America","United States",,"1976","Not on View","20th century","","","","","","","From ","Gift of Dr. Lee A. Kitzenberg","83.10.16.1","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.023276825,,,,,,,,,,,,,,,,,,,,,,, "23767","Fotofile, Volume 3, Fall 1976","Magazine"," Photographs",,,"North America","United States",,"1976","Not on View","20th century","","","","","","","From ","Gift of Dr. Lee A. Kitzenberg","83.10.15.1","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.023276825,,,,,,,,,,,,,,,,,,,,,,, "23768","Fotofile, Volume 2, Spring/Summer 1976","Magazine"," Photographs",,,"North America","United States",,"1976","Not on View","20th century","","","","","","","From ","Gift of Dr. Lee A. Kitzenberg","83.10.15.2","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.023276825,,,,,,,,,,,,,,,,,,,,,,, "23769","Fotofile, Volume 1, Winter 1975/1976","Magazine"," Photographs",,,"North America","United States",,"1976","Not on View","20th century","","","","","","","From ","Gift of Dr. Lee A. Kitzenberg","83.10.15.3","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.023276825,,,,,,,,,,,,,,,,,,,,,,, "23766","Picture #4","Magazine"," Photographs",,,"North America","United States",,"1979","Not on View","20th century","","","","","","","From ","Gift of Dr. Lee A. Kitzenberg","83.10.14.2","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.023276825,,,,,,,,,,,,,,,,,,,,,,, "25156","Ralph","16mm color film"," Photographs; Time-based Media",,"Film","North America","United States",,"1968","Not on View","20th century","","","","","A 16mm Color film, 30 minutes duration with Jay Hines, Paco Grande, Steve Arhelger and Ralph.","","From ","The Christina N. and Swan J. Turnblad Memorial Fund","86.25","Maker: Daniel Seymour","Artist","American","American, 1945 - c.1973","%C2%A9 Daniel Seymour","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.023092357,,,,,,,,,,,,,,,,,,,,,,, "116242","Absolut Revolution - La Isla","Single channel video"," Digital Art; Time-based Media","10 minutes (duration)","Video","North America","Cuba",,"2002-2012","Not on View","21st century","","","","Liudmila & Nelson, a husband and wife artistic collaborative, reside in Cuba and address many aspects of Cuban culture and history in their multimedia work. The ""Absolut Revolution"" series utilizes the monument to Jose Marti – a writer, political activist and national hero who became a symbol for Cuban independence from Spain in the 19th century – as a central subject to create various artworks in multiple formats. Their video draws on the deadpan and fixed presentation of objects found in conceptual art videos and the repetition of forms associated with minimal art and photograph. The monument, a tall obelisk, stands in isolation surrounded by water and serves as a symbol for the political history of Cuba. The series’ title refers to the Western advertising campaign for Absolut vodka, which uses the similar tall shape of a liquor bottle as a marketing tool. But the artists suggest that little is “absolute” about Cuba’s revolution, which has clearly failed.","tall tower with a statue in front of it seen beyond choppy water; clouds moving in sky; sounds of waves; DVD in case and CompactFlash drive master copy included; certificate of authenticity included","","From ","Gift of funds from members of the Director's Circle 2013 trip to Cuba","2013.41","Artist: Liudmila Velasco; Artist: Nelson Ramirez de Arellano Conde","Artist","Russian (active Cuba)","Russian (active Cuba), born 1969","%C2%A9 Liudmila Velasco %2F Nelson Ramirez de Arellano Conde. All rights reserved.","Arts of the Americas","In Copyright","valid",1920,1080,1,"1",0,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "142650","George 8:46","Mixed media on wood panel"," Paintings; Collages / Assemblages","72 × 59 5/8 × 1 3/4 in. (182.9 × 151.4 × 4.4 cm)","Painting","North America","United States",,"2021","Not on View","21st century","","ULC, verso, in black marker: David Huffman | 2021","","David Huffman does not depict George Floyd directly, but the painting’s title refers to the unarmed Black man killed by police in Minneapolis on May 25, 2020. Next to his first name, rendered partially upside-down and in mirror writing, one can read the duration of time, as initially reported, that the white officer kneeled on Mr. Floyd’s neck. “8:46” became a symbol to many in the weeks after George’s death, and a rallying cry in the worldwide protests. (Later reports would indicate that the actual time was more than nine minutes and twenty seconds.) The artist also included cues to Black culture in this painting: the parallel blue lines on top evoke the silhouette of basketball nets, a sport that plays a major role in African American culture; the stenciled images of the head of the Sphinx of Giza refer to the origins of African civilization; and the fragments of colorful weavings scattered throughout pertain to the kente cloth, a traditional Ghanaian textile that symbolizes status, dignity, and value.","abstract image with multicolored pigments in many layers; blue and white striped triangular shape at T; repeating pattern of the Sphinx in TC; Kente cloth pattern in background, appearing in URQ and at LL edge; swirling, mottled brushstrokes throughout; line of numbers and letters, some upside-down, in BR edge; large pink blobs of pigment throughout; glittered elements in text over red woven pattern in LRQ","","From ","Gift of funds from Mary and Bob Mersky","2021.74.1","Artist: David Huffman","Artist","American","American, born 1963","","Arts of Global Africa","In Copyright","valid",6885,8233,1,"1",0,,,"[""""]","media",0.022693396,,,,true,,,,,,,,,,,,,,,,,,, "127584","Ornament (Little Blue Guitar)","Mixed media on paper"," Drawings; Works on Paper","27 13/16 × 22 5/8 × 1 5/16 in. (70.64 × 57.47 × 3.33 cm) (outer frame) 20 11/16 × 16 in. (52.55 × 40.64 cm) (sheet)","Drawing","North America","United States",,"1991","Not on View","20th century","","","","This drawing by T.L. Solien is characteristic of his ornament subjects from the 1990s. Resembling an elaborate Rococo-style hanging lamp, the fantasy object is composed of various circles, dots, arabesques, and other linear forms surrounding and superimposed on a large, central tear-drop shape. A small dark blue guitar rests inside the tear-drop. There is a sense of motion in the drawing, as if the lamp was swinging in place. Painted in a limited palette of red, blue, tan, white and black, the drawing is highly layered and textured, its surface worked and re-worked, leaving various pentimenti (evidence of earlier under painting or drawing) and an appearance of age. Formally complex and visually compelling, its meaning remains elusive, but may represent an ornamental object Solien selected from an Old Master painting to study and reprise.","series of abstract circular images in orange, red, green, blue and black pigment forming overlapping linear and swirling forms; small, squiggly, branch-like elements overlap circular forms, forming a cage-like appearance; mottled white and rust-colored background","Lora and Martin Weinstein, Minneapolis; given to MIA, 2017","From ","Gift of Martin Weinstein","2017.112.4","Artist: T.L. Solien","Artist","American","American, born 1949","%C2%A9 T. L. Solien","Arts of the Americas","In Copyright","valid",5080,6456,1,"1",0,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "127311","August","3-D stereoscopic film with 5.1 sound"," Digital Art; Time-based Media","15 minutes, 30 seconds","3-D stereoscopic film","Asia","Israel",,"2016","Not on View","21st century","","","","Omer Fast creates complex video installations that examine the narrative line between fact and fiction, part of an emerging genre in contemporary art known as “parafiction.” This work imagines German photographer August Sander at the end of his life as he reflects on the creation of his groundbreaking portraiture series People of the 20th Century, which he made from the 1900s to the mid 1930s. Fast’s film, shot in 3D, depicts a nearly blind Sander (a fictional characterization) in his home, haunted by the death of his son and the ghosts of figures he has photographed. It considers the transition between Germany’s Weimer Republic and its Nazi era and questions whether photography as a medium can tell the truth about people and, ultimately, a nation.","black archival box with 3-ring binder containing: 1. WD My Passport hard drive (with white label on front: ""OMER FAST August""), containing one exhibition file (4K ProRes with 6 audio tracks) and two master archival files, Left and Right, each HD video with 6 audio tracks (one set in English, one set in French), with a USB cable, in a yellow and white box 2. Certificate of Authenticity (1 sheet) 3. Techinal Outline by the artist with installation instructions (2 sheets) 4. Receipt letter from the gallery","","From ","The Christina N. and Swan J. Turnblad Memorial Fund","2017.54","Artist: Omer Fast","Artist","Israeli","Israeli, born 1972","%C2%A9 Omer Fast. All rights reserved.","Asian Art","In Copyright","valid",1920,1012,1,"1",1,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "108265","13 Variations","Mixed media multiple consisting of color relief prints on cardboard, offset lithography on paper, cloth over cardboard, wood, ribbon"," Multiples","11 1/8 x 11 1/8 x 1 1/2 in. (28.26 x 28.26 x 3.81 cm) (box, closed)","Multiple","North America","United States",,"1965","Not on View","20th century","Signature and Edition","on inner spine, in black: [Emmett Williams]","on inner spine, in black: [73]","The Fluxus group was an international collective of artists who in the 1960s and 70s sought to subvert the sometimes high seriousness of art by introducing unconventional ideas and activities such as games, puzzles, storytelling, performance, absurdity, chance, poetry, and experimental music and film, into the realm of fine art. The group was famous for their large output of Fluxus boxes or so-called Fluxkits—small wooden or plastic boxes that held collections of printed cards, games, puzzles, found objects, and other material along with operating instructions for the viewer to perform certain actions or activities. Indeed, active participation was a required element of these works. Fluxus art was also noted for the experimental mixing of mediums, or what became called ""intermedia,"" as a way to generate unforeseen meanings or associations.","black clamshell box containing accordion-folded cardboard with thirteen progressive color relief prints; ""When this you see remember me"" printed in blue, brown, red, green, yellow and orange, doubling the number words on each successive print","Acquired in 1969 by the MIA Research and Reference Library through the John Russell Van Derlip Library Fund.","From Edition MAT MOT (No. 6)","Transfer from the MIA Research and Reference Library; The John R. Van Derlip Library Fund, 1969","2009.54.5a,b","Artist: Emmett Williams; Publisher: Karl Gerstner; Publisher: Daniel Spoerri; Publisher: Galerie der Spiegel, Cologne, Germany","Artist","American","American, 1925–2007","%C2%A9 Emmett Williams. All rights reserved.","Arts of the Americas","In Copyright","valid",3800,1571,1,"1",1,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "108264","Dogmat Mot","Mixed media multiple consisting of offset lithography on cardboard and paper, metal bolts, wood, cloth over cardboard, ribbon"," Multiples","11 1/8 x 11 1/8 x 1 1/2 in. (28.26 x 28.26 x 3.81 cm) (box, closed)","Multiple","Europe","Switzerland",,"1965","Not on View","20th century","Signature and Edition","on inner spine, in black: [André Thompkins]","on inner spine, in black: [53]","The Fluxus group was an international collective of artists who in the 1960s and 70s sought to subvert the sometimes high seriousness of art by introducing unconventional ideas and activities such as games, puzzles, storytelling, performance, absurdity, chance, poetry, and experimental music and film, into the realm of fine art. The group was famous for their large output of Fluxus boxes or so-called Fluxkits—small wooden or plastic boxes that held collections of printed cards, games, puzzles, found objects, and other material along with operating instructions for the viewer to perform certain actions or activities. Indeed, active participation was a required element of these works. Fluxus art was also noted for the experimental mixing of mediums, or what became called ""intermedia,"" as a way to generate unforeseen meanings or associations.","black clamshell box containing cardboard with ten hexagonal cards printed with words in German, French and English in purple, blue and red; cards attached to backing with metal bolts","Acquired in 1969 by the MIA Research and Reference Library through the John Russell Van Derlip Library Fund.","From Edition MAT MOT (No. 5)","Transfer from the MIA Research and Reference Library; The John R. Van Derlip Library Fund, 1969","2009.54.4a,b","Artist: André Thomkins; Publisher: Karl Gerstner; Publisher: Daniel Spoerri; Publisher: Galerie der Spiegel, Cologne, Germany","Artist",,,"%C2%A9 Estate Andr%C3%A9 Thomkins","European Art","In Copyright","valid",3739,1761,1,"1",1,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "108241","Je disais à Marianne (I was Telling Marianne)","Mixed media multiple consisting of wood, letterpress, and offset lithographs on cardboard and paper, housed in cloth over cardboard box"," Multiples","11 1/8 x 11 1/8 x 1 1/2 in. (28.26 x 28.26 x 3.81 cm) (box, closed)","Multiple","Europe","France",,"1965","Not on View","20th century","","on inner spine, in black: R Filliou","on inner spine, in black: 75","The Fluxus group was an international collective of artists who in the 1960s and 70s sought to subvert the sometimes high seriousness of art by introducing unconventional ideas and activities such as games, puzzles, storytelling, performance, absurdity, chance, poetry, and experimental music and film, into the realm of fine art. The group was famous for their large output of Fluxus boxes or so-called Fluxkits—small wooden or plastic boxes that held collections of printed cards, games, puzzles, found objects, and other material along with operating instructions for the viewer to perform certain actions or activities. Indeed, active participation was a required element of these works. Fluxus art was also noted for the experimental mixing of mediums, or what became called ""intermedia,"" as a way to generate unforeseen meanings or associations.","Black clamshell box containing 96 grey, black and white cards, printed with an image on one side and text in three languages on back; inner box contains wooden frame to hold cards in two rows of three stacks each","Acquired in 1969 by the MIA Research and Reference Library through the John Russell Van Derlip Library Fund.","From Edition MAT MOT (No. 2)","Transfer from the MIA Research and Reference Library; The John R. Van Derlip Library Fund, 1969","2009.54.2a-ssss","Artist: Robert Filliou; Publisher: Karl Gerstner; Publisher: Daniel Spoerri; Publisher: Galerie der Spiegel, Cologne, Germany","Artist","French","French, 1926–1987","%C2%A9 Robert Filliou","European Art","In Copyright","valid",5105,2642,1,"1",1,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "136251","Blue Coral Crescent","Mixed media"," Accessories","10 1/4 × 10 5/8 × 1 1/2 in. (26.04 × 26.99 × 3.81 cm) (overall)","Mask","North America","United States",,"20th century","Not on View","20th century","verso, R side, sticker, written in blue ink: 20","verso, L side, sticker with red border, written in blue ink: Blue Coral Crescent","","Paulina Peavy was a formally-trained artist who worked professionally and made spiritually-based organic figural work. After attending a séance in 1932 she claimed that she was contacted by an entity calling itself Lacamo and from then on she and Lacamo were artistic collaborators. She made art channeling Lacamo and the two of them signed the work. Peavy made this “trance mask” in order to better tune in Lacamo’s vibrational communications.","Eye mask with base of blue and black grid pattern fabric covering stiff frame; top edge and eye holes are lined with small conical white and light pink shells strung together on white and pink string respectively; three loops of shells, two pink and one white, hang from space between eyeholes, over nose opening; on forehead, mask has a round black ball with gold ball attached, sitting on gold plastic disks surround by more shells; a small gold ball is attached on outer sides, near location of temples; black elastic band attached to backside","",,"Gift of various donors, by exchange","2019.95.3","Artist: Paulina Peavy (with Lacamo)","Artist","American","American, 1901 - 1999","%C2%A9 Paulina Peavy %2F Andrew Edlin Gallery","Arts of the Americas","In Copyright","valid",8353,6682,1,"1",0,,,"[""""]","media",0.022693396,true,,,,,,,,,,,,,,,,,,,,,true,true "108722","Sound Mess + Other Poems","Compact disc audio recording"," Digital Art; Time-based Media","4 15/16 x 5 5/8 x 7/16 in. (12.54 x 14.29 x 1.11 cm) (case, closed)","Compact disc audio recording","North America","United States",,"2003","Not on View","21st century","","","","Scott Helmes is an internationally recognized contemporary artist, poet, and writer best known for his visual poetry and abstract collages. Visual poetry is a form of poetry in which the formal arrangement of letters and words is as essential in conveying the intended meaning as more conventional elements of the poem, such as word meaning, rhythm, meter, and rhyming schemes. Helmes began writing experimental poetry and producing prints, drawings, collages, and mail art in 1972. His work is informed by the innovations of the avant-garde Fluxus collective, an international alliance of artists working in the 1960s and '70s whose playful and unconventional forms of poetry expanded the boundaries of this literary art form. Since then, Helmes has emerged as an important figure among visual poets, producing work in a variety of forms, including found object collage, mathematical poetry, and rubber-stamped poetry. His editioned work includes lithographs, relief prints, typeset designs, and digital prints.","compact disc in jewel case with liner notes; cover art: vertical bands of brown, dark orange, lime green and blue ground with typeset paragraph at left, running off edge; black lines and scribbles over text","Scott Helmes (St. Paul, MN)","From ","Gift of the artist","2009.72.3.2a-c","Artist: Performed by Be Blank Consort","Artist",,,"","Arts of the Americas","In Copyright–Non-Commercial Use","valid",6053,3766,0,"1",1,,,"[""108721"",""108722""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "108833","Untitled (Dirt Track)","Chromogenic color print"," Photographs","90 1/8 x 46 5/8 in. (228.92 x 118.43 cm) (image) 91 3/8 x 48 in. (232.09 x 121.92 cm) (sheet, mount) 93 x 49 3/8 x 2 5/8 in. (236.22 x 125.41 x 6.67 cm) (outer frame)","Photograph","Asia","Japan",,"2005 (printed 2009)","Not on View","21st century","Inscription at bottom margin, in black: printer\'s notes","","","While enrolled at the University of California, Los Angeles, Noriko Furunishi took Adobe Photoshop classes at a local community college. She also began to use a 4 x 5 viewfinder camera because it produces negatives that are dense with visual detail and data. After scanning negatives into her computer, she uses the digital files to compose and collage multiple views in a single image. She produced this image, for example, from five or six views of a construction site. Digital technology allows her to rotate and ""flop"" images in the process of arranging her compositions. While she remains true to the character of the places she photographs, Furunishi's seamless digital manipulation of the component parts creates a dreamlike, slightly disorienting effect-at once familiar and otherworldly.","manipulated landscape of construction site with tracks from heavy equipment; scattered construction cones; freeway and heavy machines at bottom","","From ","Gift of funds from Russell Cowles II and Josine M. Peters, Henry Roberts, and the Photography and New Media Curatorial Council, and the Linda and Lawrence Perlman Photography Endowment and the McClurg Photography Purchase Fund","2009.67","Artist: Furunishi Noriko","Artist","Japanese","Japan, born 1966","%C2%A9 Noriko Furunishi. All rights reserved.","Asian Art","In Copyright","valid",4805,9364,1,"1",0,,,"[""""]","media",0.022693396,true,,,,,,,,,,,,,,,,,,,,,, "107115","migration (empire) - linear version","Single channel video installation"," Digital Art; Time-based Media","variable","Video recording","North America","United States",,"2008","Not on View","21st century","","","","Doug Aitken is considered among the leading video artists of his generation. He is known for creating exquisitely produced and engaging videos that utilize the visual richness of the medium to capture the complexity of society and culture today. Aitken's close studies of wild, North American animals released within the artificial habitat of the motel are spellbinding. A horse occupies a room, watching wild horses run free on television; a buffalo, the tragic American symbol of the wild West, trashes the space. The animals' displacement from their native environment seems at once humorous and horrific, strangely familiar and prophetic.The work captures the country's strengths and contradictions - the sublime beauty of a landscape that is often impacted by urban development. Ultimately, migration provides a picture of America as it grows, changes, and finds its place in the twenty-first century.","sound film installation without dialogue; instrumental music with some vocals; views of landscapes and the exteriors of motels; scenes of various animals inside motel rooms--horse, birds, raccoon, deer, bison, fox, rabbits, beaver, mountain lion; total running time: 24 minutes, 28 seconds Certificate of Authenticity in presentation box (copy in object file) Installation and technical requirements: see Notes","","From ","The William Hood Dunwoody Fund","2009.7","Artist: Doug Aitken","Artist","American","American, born 1968","%C2%A9 Doug Aitken%2C 2008","Global Contemporary Art","In Copyright–Educational Use","valid",3000,2000,0,"1",0,,,"[""""]","media",0.022693396,,,,,,,true,true,,,,,true,,,,,,,,,, "131441","Cosmic Generator (Lettuce Variant)","HD video, sculptural elements"," Digital Art; Time-based Media","26:38 minutes","Video with sculptural elements","North America","United States",,"2017","Not on View","21st century","","","","Cosmic Generator presents a network of characters working in nonsensical, and at times absurd, economies. Artist Mika Rottenberg uses footage from actual discount dollar stores in Calexico, CA; Mexicali, Mexico; and Yiwu, China to recreate the imaginary “life” of a product, from its production in the factory to the moment it is sold. The segments are regularly interrupted by depictions of surreal tunnels, which represent the structures that Chinese residents of Mexicali supposedly dug under their homes and shops to travel surreptitiously to Calexico. Mika Rottenberg creates these elaborate visual narratives to explore the seduction and magic, but also desperation, of our hypercapitalist, globally connected reality, exposing and probing labor, globalization, the production of value, and how our relationships to the world, and to one another, are increasingly monetized.","one black ""G Drive"" moble USB labeled with a piece of masking tape that has the numers [5904] written on it, 7/16 x 5 x 3 1/4""; a short black cord that goes with the G Drive, 24"" long; a thick purple disc in a clear case (LTO-7 tape), 3/4 x 4 x 4"" PLASTIC PRODUCTS REQUIRED FOR INSTALLATION: 1 palm tree 6 plastic balls (3 green, 2 pink, 1 white) 1 multicolor ball string lights 1 green LED string lights 1 blue long stem flower 1 pink flower 1 garland","",,"Purchased jointly by the Minneapolis Institute of Art and the Speed Art Museum; with funds from a partial gift by James and Jane Cohan and the Marguerite S. McNally Endowment for Art Acquisition","2019.11","Artist: Mika Rottenberg","Artist","Argentinian-Israeli","Argentinian-Israeli, born 1976","%C2%A9 Mika Rottenberg","Global Contemporary Art","In Copyright","valid",1920,1080,1,"1",0,,,"[""""]","media",0.022693396,,,,,,,,,,,,,true,,,,,,,,true,, "142358","Untitled","Acrylic and mixed media on paper"," Drawings; Paintings; Works on Paper","29 3/4 × 22 11/16 in. (75.6 × 57.6 cm) (sheet) 34 × 26 3/4 × 2 in. (86.4 × 67.9 × 5.1 cm) (outer frame)","Painting on paper","North America","United States",,"2018","Not on View","21st century","","LLC in pencil: VIGIL | LRC in pencil: (symbol?) 2018","","Jemez Pueblo/Jicarilla Apache artist Phillip Vigil’s work Untitled includes graphic and sparsely painted figures, intriguing text, bold splashes of colors, and a mesmerizing array of shapes and designs. Vigil successfully creates a painting that is both balanced and orderly, serious and whimsical. The human/animal like figures contain wide open eyes and large open hands with thin lines suggestive of hair. Vertical and horizontal texts appear throughout the work and perhaps references existential questions the artist has, such as ideas encompassing the word NOTHING that occurs in multiple areas throughout the painting and the statement I AM EVERYTHING AND NOTHING AT ALL at the center. The painting suggests being inspired by other Indigenous and non-Indigenous artists, including Jaune Quick-to-See-Smith, Emmi Whitehorse, Inuit printmakers, Jean-Michel Basquiat, and others.","abstracted colorful image; two faces with wide eyes--LRC, with upper torso and PR arm and hand, and ULC; hand at center; snowman form at right center; bright multicolored circles, spirals, Xs, stars, arrows, and various lines and forms throughout; ""NOTHING"" in white above head in ULC; ""I AM EVERYTHING, / AND NOTHING AT ALL"" at left center; received in light-toned wood frame","",,"Gift of funds from Mary and Bob Mersky","2021.33.3","Artist: Phillip Vigil","Artist","American (Jemez Pueblo/Jicarilla Apache)","American (Jemez Pueblo/Jicarilla Apache), born 1981","","Arts of the Americas","In Copyright","valid",286,383,1,"1",0,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "129247","Coverup","Oil and mixed media collage on canvas"," Paintings; Collages / Assemblages","68 1/2 × 60 13/16 × 1 7/8 in. (173.99 × 154.43 × 4.76 cm)","Painting and collage","North America","United States",,"2012","Not on View","21st century","ULC on back, in black ink: HARMONY HAMMOND | \""COVERUP\"" 2012","","","Coverup belongs to a group of work that artist Harmony Hammond calls ""near monochrome"" paintings in which layers of paint, hand-made straps, and rope are layered into a three-dimensional composition. Hammond uses only one color—red ocher—in this work, transforming the act of painting from one of representation (making a picture) to the creation of something sculptural and organic. Hammond often describes her paintings’ canvases as ""skins,"" explaining, ""the grommeted straps are wrapped around the painting as objects and body (suggesting bandage, bondage, binding) but do not cinch or constrict. The straps do not hold the painting together; the paint (and therefore the act of painting) does."" Additionally, punctures and grommets in the canvas suggest bodily orifices, while the dangling ropes allude to the suturing together of various parts into a whole.","large painting with rust colored pigment that is applied in a thick layer; dimensional elements under pigment that resemble thick straps that crisscross horizontally and are secured with large bolts and grommets, which have also been covered with pigment; paint coated ropes and cords dangle from straps on top, in the center and on the bottom; traces of yellow and green pigment show through in several areas","",,"Gift of Mary and Bob Mersky","2020.96.5","Artist: Harmony Hammond","Artist","American","American, born 1944","%C2%A9 Harmony Hammond %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","Global Contemporary Art","In Copyright","valid",6981,7862,1,"1",0,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,true,, "145820","The Sense of Taste (no. 4 of The Five Senses)","Mixed media on board"," Paintings","15 3/4 × 19 5/8 in. (40 × 49.8 cm) (sight) 23 × 26 3/4 × 1 1/2 in. (58.4 × 67.9 × 3.8 cm) (outer frame)","Painting","Europe","Germany",,"2003","Not on View","21st century","","within image, at lower R on corner of wood block: T CR verso, black ink: Triegel / Der Geschmackssinn (4 [illegible],, Die fünf Sinne / 2003","verso, below title and date: WY/G:202; BC verso, gallery label for Worthington Gallery, Inc. Chicago, No. 160","This arrangement of food on a table might at first glance seem like the work of an artist born hundreds of years ago. Its realist style and careful attention to the look and textures, even weight of its depicted items has much in common with painting of an earlier age. It is however a 21st century painting by an artist who has worked hard to learn the techniques of earlier European painting. The objects gathered here are meant to evoke the sense of taste. Triegel made four more still-lifes devoted to the other senses.","realistic still life painting of three red fish wrapped in paper, surrounded by cooked fowl on plate, apple, and slab of uncooked meat on a wooden box, block of cheese; lemon slice, cut salami; items on a tan surface with black background above; in wooden distressed frame painted black with antiqued gold trim","","From The Five Senses (Die fünf Sinne)","Gift of Alfred and Ingrid Lenz Harrison","2023.57.11","Artist: Michael Triegel","Artist","German","German, born 1968","","Global Contemporary Art","In Copyright","valid",9036,7224,1,"1",0,,,"[""""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "8843","House of Cards","Ink and goauche on paper"," Drawings; Works on Paper","24 7/8 x 19 in. (63.18 x 48.26 cm) (sheet)","Drawing","North America","United States",,"1947","Not on View","20th century","","Signed, titled, dated in brown chalk, verso: Gerome Kamrowski / House of Cards / 1947","Papermaker blindstamp, URC: STRATHMORE ARTISTS","","","The artist; sold to MIA, 1988.",,"The Christina N. and Swan J. Turnblad Memorial Fund","88.48.3","Artist: Gerome Kamrowski","Artist","American","American, 1914 - 2004","%C2%A9 Gerome Kamrowski","Arts of the Americas","In Copyright–Educational Use","valid",6400,8311,0,"1",1,,"Conservation cost: $3,951 Born and trained in Minnesota, Gerome Kamrowski (1914–2004) moved to New York City in 1938 to pursue a career as a painter. There he joined a group of American modernist artists who were strongly influenced by Surrealism, the avant-garde cultural movement centered in Paris. Like their European counterparts, these young American artists explored a range of subjects and techniques—such as dream analysis, free association, and chance—that allowed the creative unconscious to express itself. This and anther drawing remained in possession of the artist until Mia acquired them in 1988. Over that 40-year period, the water-based media (gouache and ink) and substrate (paper) degraded, probably because of fluctuations in temperature and humidity. In particular, each drawing has experienced surface flaking of the gouache (opaque watercolor) medium. Edge tears (some with previous non-archival repairs) and minor cockling of the substrate are also present in both drawings. Treatment would include consolidating the unstable medium, in-painting of medium losses, and the archival repair of tears. Consolidation and in-painting are exacting and time-consuming processes that require working under strong magnification with great deliberation. Once restored, both drawings will be available for display. Contact the Prints and Drawings Department at printstudy@artsmia.org or (612) 870-3113 to Champion this artwork.","[""25506"",""25529"",""62042"",""62043"",""8843""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "25529","Aural","Gouache and ink on pale brown paper"," Drawings; Works on Paper","23 x 18 5/8 in. (58.42 x 47.31 cm) (sheet)","Drawing","North America","United States",,"1943","Not on View","20th century","Inscribed in ink, verso: Gerome Kamrowski / AURAL / 1943 / #1056 Inscribed in black chalk, verso: K 69 (in circle)","Signed in white, LRC: G. Kamrowski","","","abstract composition of biomorphic forms in black, red-brown, and white","The artist; sold to MIA, 1988.",,"The Christina N. and Swan J. Turnblad Memorial Fund","88.48.2","Maker: Gerome Kamrowski","Artist","American","American, 1914 - 2004","%C2%A9 Gerome Kamrowski","Arts of the Americas","In Copyright–Educational Use","valid",4008,3221,0,"1",1,,"Conservation cost: $2,359 Born and trained in Minnesota, Gerome Kamrowski (1914–2004) moved to New York City in 1938 to pursue a career as a painter. There he joined a group of American modernist artists who were strongly influenced by Surrealism, the avant-garde cultural movement centered in Paris. Like their European counterparts, these young American artists explored a range of subjects and techniques—such as dream analysis, free association, and chance—that allowed the creative unconscious to express itself. This and anther drawing remained in possession of the artist until Mia acquired them in 1988. Over that 40-year period, the water-based media (gouache and ink) and substrate (paper) degraded, probably because of fluctuations in temperature and humidity. In particular, each drawing has experienced surface flaking of the gouache (opaque watercolor) medium. Edge tears (some with previous non-archival repairs) and minor cockling of the substrate are also present in both drawings. Treatment would include consolidating the unstable medium, in-painting of medium losses, and the archival repair of tears. Consolidation and in-painting are exacting and time-consuming processes that require working under strong magnification with great deliberation. Once restored, both drawings will be available for display. Contact the Prints and Drawings Department at printstudy@artsmia.org or (612) 870-3113 to Champion this artwork.","[""25506"",""25529"",""62042"",""62043"",""8843""]","media",0.022693396,,,,,,,,,,,,,,,,,,,,,,, "132175","Swamp Life","Mixed media on paper"," Paintings","22 5/16 × 29 3/4 in. (56.67 × 75.57 cm) (sight) 25 5/16 × 32 5/8 in. (64.29 × 82.87 cm) (mat) 31 3/16 × 41 1/4 × 1 9/16 in. (79.22 × 104.78 × 3.97 cm) (outer frame)","Painting","North America","United States",,"1981","Not on View","20th century","","LRC, in black ink: Marcy Hermansader: 1981","label on back, in ULC, handwritten in black ink: Swamp Life | \""Marcy Hermansader\"" Fall 1981 | pencil, crayon, and acrylic on paper | label from DeCordova Museum and Sculpture Park, Lincoln, MA in ULQ on back; loose white label in top center | gallery label from Janet Fleisher Gallery, Philadelphia, PA in bottom center on back","In Swamp Life, the writhing tentacles and bare trees suggest dangers lurking in murky depths. Yet the colorful forms also remind us that a swamp is an ever-shifting environment of abundance, renewal, and growth. Here, Marcy Hermansader’s interpretation of a swamp seems to represent her broader creative approach: “I try to create a real feast for the eyes — an image that is intense and mysterious. I want each drawing to feel as full and complex as a world. Within this world there is often a suggestion of a story. A running theme of these stories is the process of renewal. Renewal involves destruction, fear, and pain as well as certain brightness, magic, or spiritual power.”","surreal landscape scene; geometric layered imagery in center that resembles a floor or carpet, with multi-colored triangles and squares; green shape in center that opens up to reveal stylized leaves and foliage; black diamond shape with cut out raised sections that look like scales, revealing peach colored underlay; two large tentacle-like shapes on left and right, both with gold lines and darker shading around outside; blue background with dark outlines of trees, and small hills in URC; dark hill with dimensional elements in LRC","","From ","Gift of Robert and Frances Coulbourn Kohler","2019.96.1","Artist: Marcy Hermansader","Artist","American","American, born 1951","%C2%A9 Marcy Hermansader","Arts of the Americas","In Copyright","valid",8574,6451,1,"1",0,,,"[""""]","media",0.02085799,,,,,,,,,,,,,,,,,,,,,,, "111891","The History of Photography Remix","Set of 40 35mm slides"," Photographs; Artist Installations; Time-based Media",,"Slide installation","Europe","Germany",,"2005","Not on View","21st century","","","","Kota Ezawa’s The History of Photography Remix presents a personal, aesthetic, and critical interpretation of the medium and its history. Inspired by a class on photography at Stanford University, Ezawa decided to create his own unofficial historical survey in the old-fashioned format of the art-historical slide show. He chose forty photographs from various sources and, through a process combining hand-tracing and computer manipulation, translated them into minimal yet evocative versions of the originals. Ezawa’s remix includes images that are both idiosyncratic and familiar. Some, such as Matthew Brady’s Harvest of Death (1863) and Edward Ruscha’s Parking Lot (1967), are commonly referenced in general art-history surveys. Others are drawn from the popular press, such as the widely circulated photograph of kidnapped newspaper heiress Patty Hearst brandishing a machine gun. Ezawa’s selection suggests the influence of television, film, and photography in shaping collective knowledge and memory. But the last slide, a portrait of the artist himself, points to the subjective nature of history. In the end, Ezawa’s remix might signify a generational shift in which historical narratives have become a “wikireality” to which any one can contribute.","40 slides with cartoon-like images of photographs and ads Slide titles and order: 1. Specimen 2. Paper Negative [woman in profile] 3. Self Portrait [standing man with camera on stand] 4. Harvest of Death [dead soldiers] 5. Yosemite 6. X-Ray 7. Photo-Secession [photography gallery] 8. Bohemians [two men] 9. Pioneer [man seen from above] 10. Weissenhof [car in front of modern building] 11. Photogram 12. Reifenstahl [two men and woman with cart] 13. Barbershop 14. Ansel Adams 15. Murder on the Roof [""Royal""] 16. Atomic Bomb Test 17. UFO 18. 3-D Movies 19. FIFA Worldcup 20. Water Tower 21. Wanda 22. Central Park Zoo 23. Parking Lot 24. Earth Moon 25. Hibernia Bank Robbery 26. Schleyer [""Seit 31 Tagen Gefangener""] 27. Slide 28. Polaroid 29. Untitled Film Still 30. Theater 31. Nan and Brian in Bed 32. Warhol 33. National Gallery 34. Cowboy 35. Dead Troops 36. Rocket [geometric buildings and empty yellow text boxes] 37. Sontag 38. Surfers 39. The Melody of Destiny [man seated on grass lighting standing woman's cigarette] 40. Kota [portrait of man in red shirt]","","From ","Gift of funds from Russell Cowles II and Josine M. Peters","2010.63","Artist: Kota Ezawa","Artist","American (born Germany)","American, born Germany 1969","%C2%A9 2005 Kota Ezawa","Global Contemporary Art","In Copyright","valid",7381,5807,1,"1",0,,,"[""""]","media",0.02085799,,,,,,true,,,,,,,,,,,,,,,,, "108243","Le petit Incendiare: Homage à René Daumal (The Little Arsonist: Homage to René Daumal)","Mixed media multiple consisting of twigs, plant fibers, metal, glass, wood and paper matches, gasoline, offset lithography on paper, and Plexiglas; housed in a cloth covered clamshell box"," Multiples","11 1/8 x 11 1/8 x 1 1/2 in. (28.26 x 28.26 x 3.81 cm) (box, closed)","Multiple","Europe","France",,"1965","Not on View","20th century","Signature, Date and Edition","on inner spine, in blue: [Maurice / Henry]; on bottom center of yellow card, in black: [Maurice / Henry / 63]","on inner spine, in blue: [63]","Recognized for his discerning sense of humor, Surrealist artist, poet, and cartoonist Maurice Henry satirizes the boxed activity kits marketed to young boys and girls in this absurdist-inspired version tailored for the juvenile pyromaniac. Outfitted with matches, lighter, kindling materials, gasoline, and printed instructions, Henry's instructional game is every parent's nightmare. As the title notes, the work honors French Surrealist novelist and poet Rene Daumal (1908–1944), widely respected for his writings on spiritualism and perception.","black clamshell box containing objects attached to red backing board with red thread, under a Plexi cover; objects are: small crumpled pieces of newspaper (with Greek text), bundle of straw, loops of raffia or other plant fibers, bundle of small sticks, bottle-shaped vial of clear liquid (gasoline?), cylindrical gold lighter, silver metal file, book of pink matches and box of wooden matches with cartoon image of a purse snatching; yellow card printed with cartoon drawing in red and black of a smiling boy watching a burning house","Acquired in 1969 by the MIA Research and Reference Library through the John Russell Van Derlip Library Fund.","From Edition MAT MOT (No. 3)","Transfer from the MIA Research and Reference Library; The John R. Van Derlip Library Fund, 1969","2009.54.3","Artist: Maurice Henry; Publisher: Karl Gerstner; Publisher: Daniel Spoerri; Publisher: Galerie der Spiegel, Cologne, Germany","Artist",,,"%C2%A9 Maurice Henry %2F Artists Rights Society %28ARS%29%2C New York","European Art","In Copyright","valid",4997,2645,1,"1",1,,,"[""""]","media",0.02085799,,,,,,,,,,,,,,,,,,,,,,, "113424","City Glow","Five screen animated film installation"," Digital Art; Time-based Media","7 minutes (total running time)","Video installation","Asia","Japan","Japanese","2005","Not on View","21st century","on each master DVD, in black marker: [SCREEN (1-5 indicated--one number on each disk)]; on short side of box under lid and on underside of lid at edge, in black ink: [155]","on each master DVD, in black marker: [Chiho 05 (?) 3/5]","see Signed","In 2005, the Japanese artist Chiho Aoshima collaborated with the New Zealand-based animator Bruce Ferguson to create City Glow, her first animation. Aoshima is a member of Takashi Murakami's Superflat movement, and her meticulously rendered imagery derives from the linear style prevalent in manga (comics) and anime (video animation) and, more distantly, in traditional Japanese painting and woodblock prints. In City Glow, Aoshima visualizes a cyclical narrative in which twenty-four hours elapse within the film's seven-minute time frame. Anthropomorphic skyscrapers sway in the background while plants grow and blossom luxuriantly in the foreground. Aquatic bubbles and fairies further hint that this is no ordinary place. Aoshima transcends the ""cult of cute"" in Japanese popular culture by juxtaposing her paradisiacal futurist garden against an ominous night. Amid eerily glowing trees, she pictures a graveyard occupied by the spirits of baleful beauties. This netherworld is dominated by a terrible three-eyed goddess from whose mouth escapes a swarm of fluttering moths. Just when this dire vision threatens to overwhelm, Aoshima offers a Disney-like reprieve wherein winged nymphsa butterfly pulls back the curtain on a fantasy-affirming rainbow.","two sets (five DVD's in each set) of exhibition/viewing copy DVD's--one set received in paper sleeves; one set (five DVD's) of master DVD's--each DVD signed and dated by the artist, with the edition number and screen number, in black marker, received in plastic and cotton sleeves; master DVD set and loose set of exhbition/viewing copies received stored in wooden box with glass cover; box stuffed with cotton; six handmade cutout fairies pinned to cotton on left side of box, with cardboard labels naming each in Japanese and English; five plasma flat panel TV's (with five wall mounts), five DVD players and synchronization unit also included; see Notes for supply list","",,"Gift of funds from the Friends of the Institute and the William Hood Dunwoody Fund","2011.83","Artist: Aoshima Chiho; Collaborator: Bruce Ferguson","Artist","Japanese","Japanese, born 1974","%C2%A9 Chiho Aoshima %2F Kaikai Kiki","Global Contemporary Art","In Copyright","valid",8749,5708,1,"1",1,,,"[""""]","media",0.02085799,,,,,,,,,,,,,,,,,,,,,,, "108240","The Universal Machine","Mixed media multiple consisting of glass, wood, metal, stone, plastic, and offset lithography on paper; housed in a black linen over board clamshell box"," Multiples","11 1/8 x 11 1/8 x 1 1/2 in. (28.26 x 28.26 x 3.81 cm) (box, closed)","Multiple","North America","United States",,"1965","Not on View","20th century","","on inner spine, in black: George Brecht","on inner spine, in black: 54","Named after the ""universal Turing machine (UTM),"" an early theoretical computing device invented by British mathematician Alan Turing (1912–1954), Brecht's Fluxus-infused Universal Machine playfully upends the logic-based systems of its predecessor by introducing the element of chance as the principal determinant of meaning. Brecht's ""machine"" consists of a black linen box containing a pane of glass, under which is a sheet of paper printed with collaged clip-art. Ten small objects of various materials rest upon the collage. Designed to be shaken so that the various objects randomly obscure portions of the printed images, the machine's ""output"" is interpreted according to a set of rules included along with the multiple. In an early interview, Brecht described the device's range of functions: ""It's a Universal Machine for doing everything. For writing a novel, making a poem, composing a piece of music, for finding lost objects. You can use it as a watch, as a calendar. It can invent new mathematics, a new form of thought. Map out an itinerary for a trip.""","black clamshell box containing clip art sheet with various images printed in black (drum, honeycomb, animals, figure exercising) at the bottom of a glass-covered box containing 18 loose objects: small cardboard box, two pieces of broken mirror, two metal hooks, key, brass ring, wooden number ""4"", four beads, three silver brads, three blue metal nails; cardboard instruction sheet in three languages included","Acquired in 1969 by the MIA Research and Reference Library through the John Russell Van Derlip Library Fund.","From Edition MAT MOT (No. 1)","Transfer from the MIA Research and Reference Library; The John R. Van Derlip Library Fund, 1969","2009.54.1a-x","Artist: George Brecht; Publisher: Karl Gerstner; Publisher: Daniel Spoerri; Publisher: Galerie der Spiegel, Cologne, Germany","Artist","American","American, 1926 –2008","%C2%A9 George Brecht %2F Artists Rights Society %28ARS%29%2C New York","Arts of the Americas","In Copyright","valid",5033,2606,1,"1",1,"Ruhé M28 ",,"[""""]","media",0.02085799,,,,,,,,,,,,,,,,,,,,,,, "115752","Verso (Rembrandt, Lucretia)","Mixed media"," Sculpture","60 3/4 x 52 x 4 5/8 in. (154.31 x 132.08 x 11.75 cm) (including carpeted blocks)","Sculpture","South America","Brazil",,"2012","Not on View","21st century","","on back (front of canvas) at bottom edge, in black: VIK MUNIZ 2012 / 1/3","see Signed","When someone wants to see if an artwork is ‘real’, they look at its back or its base, the part of it that normally is not visible to anyone but museum conservators, art handlers, and curators. The verso of a great painting provides a “back story” that might include places the artwork has traveled, its provenance (former owners), and even scribbles and marks made by conservators and artists over the years. Each has an individual personality, quite distinct in its carpentry, gouges, tags, and hardware. Verso (Rembrandt, Lucretia) is a disconcertingly faithful reproduction of the back of one of the MIA’s best known masterpieces realized in 1:1 scale in an inch-by-inch process that does not spare the slightest detail. At first glance, it may appear to visitors that the museum has not finished the installation of an artwork. A closer look reveals it to be – seemingly – one of the museum’s most famous paintings, Rembrandt’s Lucretia. In fact, it is a trompe l’oeil object designed to “trick the eye.” The Brazilian artist Vik Muniz, working closely with two fabricators, has transformed the surprisingly anonymous verso of this famous canvas into a 3-dimensional simulation that would be difficult for even an expert to identify as either fake or real.","carved frame around blank canvas, displayed with back of frame facing out, resting on two blocks covered with blue carpet; back of canvas is covered with cork; two large twill straps screwed into frame at bottom; tension springs and rods at corners and center of stretcher; handing loops at left and right sides; ""E8290"" in white on right side of frame; MIA's permanent collection label for Rembrandt's ""Lucretia"" at top; small MIA loan tag in ULC Scotch taped to stretcher; scallop-edged sticker at top center on stretcher; white tape on shims between stretcher and frame edges","","From ","The Christina N. and Swan J. Turnblad Memorial Fund","2012.76a-c","Artist: Vik Muniz","Artist","Brazilian","Brazilian, born 1961","%C2%A9 2012 Vik Muniz %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY","Global Contemporary Art","In Copyright","valid",7594,8788,1,"1",0,,,"[""""]","media",0.02085799,,,,,,,,,,,,,,,,,,,,,,, "9896","Salvator Mundi (Savior of the World), page from an Illuminated Antiphonary","Ink, gouache, and gold on parchment"," Manuscript","20 3/4 × 14 7/8 in. (52.71 × 37.78 cm) (sheet) 29 5/8 × 23 5/8 in. (75.25 × 60.01 cm) (outer frame)","Illuminated manuscript page","Europe","Italy",,"c. 1425-1450","Not on View","15th century","Inscription Verso, in graphite, at upper right: [24/7/18 / SxF/1/1 / M 57 / £30]; at lower left [M57 XF|.|] Recto: [D[omi]ne mise[re]re n[ost]ri. Euouae. [rubr.] v./ Media noc[te]. [rubr.] R./In princi/pio fecit d[eu]s/ celum et terram et crea/vit in ea hominem / ad ymaginem et simi/ Verso: litudinem suam/Formavit igitur deus hominem de limo terre et inspiravit in facie eius spiraculum vitae. Ad ymaginem/Igitur perfecti sunt celi et terra et omni ornatus e/]","","","The decorated letter ""I"" shows Christ pointing to a disk-shaped mappa mundi (map of the world), a medieval representation of the then known lands, encircled by the ocean. The image is apt, for this ""I"" introduces the phrase In principio fecit deus celum et terram (In the beginning God made heaven and earth), with which the book of Genesis opens. The musical notation—neumes (square notes) marked on a four-line staff—is typical of Gregorian plainchant, liturgical music that developed in the Western Church beginning in the 8th century. A leafy scroll climbs the border, rising from the dragon at the bottom and pecked on top by a bizarre bird. Sophisticated decoration, rich colors, and sinuous lines are characteristic of the so-called International Gothic style.","music sheet with inset standing figure with the world against red ground at UL with L and bottom borders painted decoratively; recto elaborate historiated initial 'I' God created the world; also border decoration with dragon and bird","Sale, Sotheby, Wilkinson & Hodge, London, July 23, 1918, no. 532, for £19, to Quaritch; '[Bernard Quaritch, London]. Robert Lehman, New York (until 1943; given to MIA). ",,"Gift of Mr. Robert Lehman","43.20","Artist: Unknown Italian (Milan), 15th century","Artist",,,"","European Art","Public Domain","valid",6640,9061,0,"1",0,,,"[""""]","media",0.02085799,,,,,,,true,,,,,,,,,,,,,,,, "19493","Acre (Carnal Clock)","Mirrored acrylic and screenprinting on acrylic in metal frame, with concealed electric lights and timing mechanism"," Horology; Collages / Assemblages; Time-based Media","60 x 60 x 10 in. (152.4 x 152.4 x 25.4 cm) (not including support legs); Runtime: 12:00 hours","Construction","North America","United States",,"1969","Not on View","20th century","","","","One of several unique constructions from Rauschenberg's Carnal Clock series, Acre is both a work of art and a functioning clock of sorts. When operating, the electric-powered device is designed to sequentially illuminate one or more images in a predetermined pattern. In an early interview, Rauschenberg described the mechanics of the clock: ""There are always two lights on; one is the minute hand, and the other is the hour hand and they do what they have to do and it's at midnight and noon that all the lights come on for one minute, and then you get to see the whole thing at once."" The construction features both appropriated images and photographs Rauschenberg made specifically for this series, documenting his own body and those of some of his close friends. The work's nudity and sexual content is partially hidden from view by the reflective surface of the light box, slowing the initial comprehension of the imagery. Acre was intended to startle viewers, who were simultaneously confronted with their own reflections and graphic images of naked men and women. On this aspect of the work, Rauschenberg noted: ""Carnal Clocks could be considered offensive. I think Carnal Clocks was racy. My flesh tells the time marked by real people who are all still living. It was an embarrassing project. Part of the project was embarrassment as a medium, because it was about my working out my shyness to photograph my friends' intimate parts.""","Unique timepiece consisting of metal box measuring 5 x 5 feet, with a silkscreened, mirrored acrylic face composed of photographs taken by Rauschenberg, which include genitals, natural forms, and other images characteristic of the artist. A timing mechanism and electrical lights illuminate the hours and minutes; at noon and midnight, the clocks are fully lit.","Robert Rauschenberg, New York; given to MIA, 1969.","From ""Carnal Clocks"" series","Gift of Robert Rauschenberg","69.134","Artist: Robert Rauschenberg","Artist","American","American, 1925–2008","Robert Rauschenberg%2C Acre %28Carnal Clock%29%2C 1969 %C2%A9 Robert Rauschenberg Foundation","Global Contemporary Art","In Copyright–Educational Use","valid",6627,7375,0,"1",1,,,"[""""]","media",0.02085799,,,,,,,,,,,,,true,,,,,,,,,, "118871","Deep North","Color video with sound"," Digital Art; Time-based Media","8:16 (running time)","Video","North America","United States",,"2008","Not on View","21st century","","","","","images of ice-covered house; some people operating a wooden machine; total running time: 8 minutes, 16 seconds; certificate of authenticity with videos (copy in object file); four discs in video disc cases with still image of ice-covered house on front; one disc in clear jewel case","","From ","Gift of funds from the Photography and New Media Affinity Group","2013.67","Artist: Chris Larson","Artist","American","American, born 1966","%C2%A9 Chris Larson. All rights reserved.","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.020496704,,,,,,,,,,,,,,,,,,,,,,, "10588","A Coryphee","Halftone"," Photographs","6 15/16 x 3 7/8 in. (17.65 x 9.84 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 10 (April 1905)","Gift of Julia Marshall","69.133.10.7","Photographer: C. Yarnall Abbott","Artist","American","American, 1870 - 1938","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "11101","Dryads","Photogravure"," Photographs","6 1/4 x 8 1/16 in. (15.88 x 20.48 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No.44 (October 1913)","Gift of Julia Marshall","69.133.42.3","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19536","Lower Manhattan","Photogravure"," Photographs","6 5/16 x 7 3/4 in. (16.03 x 19.69 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.5","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124514"",""19536""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19521","The Hand of Man","Photogravure"," Photographs","6 5/16 x 8 1/2 in. (16.03 x 21.59 cm) (image)",,"North America","United States",,"1902","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.13","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19527","Portrait--S.R.","Photogravure"," Photographs","8 1/8 x 5 9/16 in. (20.64 x 14.13 cm) (image)",,"North America","United States",,"1904","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 41 (January 1913)","Gift of Julia Marshall","69.133.40.9","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124521"",""19527""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19539","A Dirigible","Photogravure"," Photographs","7 x 7 1/16 in. (17.78 x 17.94 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.8","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124514"",""19539""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19519","Excavating--New York","Photogravure"," Photographs","5 x 6 3/16 in. (12.7 x 15.72 cm) (image)",,"North America","United States",,"1911","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.10","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124514"",""19519""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19537","Old and New New York","Photogravure"," Photographs","8 x 6 1/4 in. (20.32 x 15.88 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.6","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124514"",""19537""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19595","Two Towers--New York","Photogravure"," Photographs","7 11/16 x 6 1/8 in. (19.53 x 15.56 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 44 (October 1913)","Gift of Julia Marshall","69.133.42.2","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19517","No. 356","Photogravure"," Photographs","5 11/16 x 7 in. (14.45 x 17.78 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work,"" No. 29 (January 1910)","Gift of Julia Marshall","69.133.29.14","Photographer: George H. Seeley","Artist","American","American, 1880 - 1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19526","The Asphalt Paver; New York","Photogravure"," Photographs","5 9/16 x 6 15/16 in. (14.13 x 17.62 cm) (image)",,"North America","United States",,"1892","Not on View","19th century","","","","","","","From From ""Camera Work"" No. 41 (January 1913)","Gift of Julia Marshall","69.133.40.8","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19437","Gossip--Katwyk","Halftone"," Photographs","5 x 8 1/16 in. (12.7 x 20.48 cm) (image)",,"North America","United States",,"1894","Not on View","19th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.9","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124442"",""19437""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19416","September","Halftone"," Photographs","6 1/4 x 4 9/16 in. (15.88 x 11.59 cm) (image)",,"North America","United States",,"1899","Not on View","19th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.10","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19523","The Maurentania","Photogravure"," Photographs","8 1/4 x 6 7/16 in. (20.96 x 16.35 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.4","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124514"",""19523""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "1707","Spring","Photogravure"," Photographs","4 15/16 x 6 1/4 in. (12.54 x 15.88 cm) (image)","Photograph","North America","United States",,"1901","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.4","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124442"",""1707""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "22415","Mental Excercise","Gelatin silver print"," Photographs","19 9/16 x 23 1/2 in. (49.69 x 59.69 cm) (image, sheet)",,"Europe","Germany",,"c. 1967","Not on View","20th century","","","","","","","From ","Gift of Russell Cowles","81.100.1","Photographer: Karin Székessy","Artist","German","German, born 1939","%C2%A9 Karin Sz%C3%A9kessy","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23813","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.47","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60947","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.165","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60940","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.158","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60908","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.126","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60875","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.93","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60913","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.131","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60910","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.128","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60930","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.148","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60932","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.150","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60920","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.138","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60923","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.141","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60925","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.143","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60938","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.156","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60884","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.102","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60902","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.120","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60944","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.162","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60917","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.135","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60909","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.127","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60898","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.116","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60896","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.114","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60926","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.144","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60922","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.140","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60887","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.105","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60953","Untitled [view of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.168","Photographer: S. Poulton","Artist","British","British","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60924","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.142","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60906","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.124","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60907","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.125","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60936","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.154","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60901","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.119","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60895","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.113","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60919","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.137","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60946","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.164","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60881","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.99","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60880","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.98","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60927","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.145","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60889","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.107","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60904","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.122","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60939","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.157","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60937","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.155","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60918","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.136","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60873","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.91","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60890","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.108","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60885","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.103","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60954","Untitled [view of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.169","Photographer: Francis Frith","Artist","British","British, 1822-1898","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60877","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.95","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60894","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.112","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60931","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.149","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60876","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.94","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60903","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.121","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60878","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.96","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60951","Untitled [view of the Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.166","Photographer: Pascal Sebah","Artist","Turkish","Turkish, 1823 - 1886","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60921","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.139","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60911","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.129","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60943","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.161","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60893","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.111","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60886","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.104","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60929","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.147","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60883","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.101","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "118926","African Coif (Koukunba?)","Gelatin silver print"," Photographs","8 9/16 × 7 7/16 in. (21.75 × 18.89 cm)","Photograph","Africa","West Africa",,"1930","Not on View","20th century","","","","","image of a woman with an intricate hairdo/headdress facing to the left","","From ","The Raymond and Ruth Reister Fund","2014.24","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "44263","Group of 953 bookplates","Various print media"," Prints",,"Print",,,,"19th-20th century","Not on View","19th-20th century","","","","","","Leroy Truman Goble, Chicago","From ","Gift of Frans C. Goble","P.99.29.1-953","","Artist",,,"","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "32760","Palimpsest","Mixed media, letterpress"," Books","10 1/4 x 10 1/4in. (26 x 26cm)","Artist's book","Europe","Belgium",,"1998","Not on View","20th century","Signature","On colophon page: [C. Kermaire]","","","","The artist","From ","Anonymous Gift","B.99.6.2","Artist: Christine Kermaire; Publisher: Christine Kermaire","Artist","Belgian","Belgian, born 1953","%C2%A9 Christine Kermaire","Prints and Drawings","In Copyright","invalid","","",1,"1",1,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "22155","Luci ed Ombre; Italian Photography Annual","Gelatin silver prints"," Books","11 1/4 x 8 3/4in. (28.6 x 22.2cm)",,"Europe","Italy",,"1924","Not on View","20th century","","","","","book of black and white photographs","","From ","Gift of Roland Shepherd","79.53.1","","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "22167","Photographs of the Year, 1917-1918, The Annual Review of the World's Pictorial Photograpic Work","Black and white photographs"," Photographs","11 1/4 x 8 3/4in. (28.6 x 22.2cm)",,,,,"1917-1918","Not on View","20th century","","","","","","","From ","Gift of Roland Shepherd","79.53.2","Editor: F. J. Mortimer","Artist",,,"","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19424","Nearing Land","Photogravure"," Photographs","8 1/2 x 6 7/8 in. (21.59 x 17.46 cm) (image)",,"North America","United States",,"1904","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.5","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124442"",""19424""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19520","The Swimming Lesson","Photogravure"," Photographs","5 13/16 x 9 1/16 in. (14.76 x 23.02 cm) (image)",,"North America","United States",,"1906","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.11","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19515","The Ferry Boat","Photogravure"," Photographs","8 1/4 x 6 7/16 in. (20.96 x 16.35 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.3","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19415","Horses","Photogravure"," Photographs","7 1/8 x 9 in. (18.1 x 22.86 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.1","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19436","Ploughing","Photogravure"," Photographs","7 1/2 x 9 9/16 in. (19.05 x 24.29 cm) (image)",,"North America","United States",,"1904","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.8","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124442"",""19436""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19518","The City of Ambition","Photogravure"," Photographs","8 3/4 x 6 5/8 in. (22.23 x 16.83 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.1","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19435","Miss S. R.","Photogravure"," Photographs","8 1/16 x 5 1/2 in. (20.48 x 13.97 cm) (image)",,"North America","United States",,"1904","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.7","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124442"",""19435""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19540","A Snapshot; Paris","Photogravure"," Photographs","5 3/8 x 6 5/8 in. (13.65 x 16.83 cm) (image)",,"North America","United States",,"1911","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 41 (January 1913)","Gift of Julia Marshall","69.133.40.7","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124521"",""19540""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19477","Katherine","Photogravure"," Photographs","8 3/16 x 6 5/8 in. (20.8 x 16.83 cm) (image)",,"North America","United States",,"1905","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 12 (October 1905)","Gift of Julia Marshall","69.133.11.6","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124442"",""19477""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "19538","The Aeroplane","Photogravure"," Photographs","5 5/8 x 6 15/16 in. (14.29 x 17.62 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.7","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "25723","New Mex","Gelatin silver print"," Photographs","8 7/8 x 13 1/4 in. (22.54 x 33.66 cm) (image)",,"North America","United States",,"1973","Not on View","20th century","","","","","","","From ","Gift of James and Deidre Szalapski","89.100.16","Photographer: Ramon J. Muxter","Artist","American","American, 1945 - 2007","%C2%A9 Ramon J. Muxter","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "24951","Untitled","Color coupler print"," Photographs","42 1/2 x 33 1/2 in. (107.95 x 85.09 cm) (image)",,"North America","United States",,"1961-1985","Not on View","20th century","","","","","large rock in water","","From ","Gift of the artist","85.86","Photographer: George Upham","Artist","American","American, born 1946","%C2%A9 George Upham","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "24614","Untitled (walls)","Color coupler print"," Photographs","8 x 10in. (20.3 x 25.4cm)",,"North America","United States",,"1980","Not on View","20th century","","","","","","","From ","Anonymous Gift","85.23.5","Maker: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "24217","Harry Callahan: Color","Book"," Photographs",,,"North America","United States",,"1980","Not on View","20th century","","","","","Matrix Publications, 1980, book, 51/100","","From ","Gift of Milton C. Bickford, Jr.","83.86.1","Photographer: Harry Callahan; Publisher: Matrix Publications","Artist","American","American, 1912 - 1999","%C2%A9 Estate Harry Callahan %2F PaceWildensteinMacGill%2C New York","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "32235","Group of Eight Drawings","Various media"," Drawings",,"Drawing",,,,"19th-20th century","Not on View","19th-20th century","","","","","","From the collection of Leroy Truman Goble, Chicago","From ","Gift of Frans C. Goble","99.238.1-8","","Artist",,,"","Prints and Drawings","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "26158","Untitled (Italian Social Landscapes)","Gelatin silver print"," Photographs","7 5/16 x 11 in. (18.57 x 27.94 cm) (image, sheet)",,"Europe","Italy",,"1954-1989","Not on View","20th century","","","","","","","From ","Gift of Lora and Martin G. Weinstein","89.125.25","Photographer: Enrico Sarsini","Artist","Italian","Italian, born 1939","%C2%A9 Enrico Sarsini","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23779","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.58","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23782","Untitled [View of Egypt]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Africa","Egypt",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.60","Photographer: Hippolyte Arnoux","Artist","French","French","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23797","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.41","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23204","Dine Drawing","Gelatin silver print"," Photographs","25 x 88 in. (63.5 x 223.52 cm) (image, approx.)",,"North America","United States",,"1982","Not on View","20th century","","","","","five prints in one piece (82.131.1-5)","","From ","The Ethel Morrison Van Derlip Fund","82.131.2","Photographer: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23792","Untitled [View of Egypt]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Africa","Egypt",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.70","Photographer: Hippolyte Arnoux","Artist","French","French","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23811","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.54","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23649","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.37","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23814","Untitled [View of Egypt]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Africa","Egypt",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.72","Photographer: Antonio Beato","Artist","Italian","Italian, c.1825 - 1903","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23198","Dine Drawing","Gelatin silver print"," Photographs","25 x 88 in. (63.5 x 223.52 cm) (image, approx.)",,"North America","United States",,"1982","Not on View","20th century","","","","","five prints in one piece (82.131.1-5)","","From ","The Ethel Morrison Van Derlip Fund","82.131.3","Photographer: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23615","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.39","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23807","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.50","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23804","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.48","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23644","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.32","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23647","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.35","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23828","William Henry Jackson's Rocky Mountain Railroad Album","book"," Photographs",,,"North America","United States",,"1976","Not on View","20th century","","","","","Silverton, Colorado Sundance Publications, 1976, 600/3000","","From ","Gift of Dr. Lee A. Kitzenberg","83.10.17","Editor: Jackson C. Thode; Publisher: Sundance Publications","Artist",,,"","Photography and New Media","No Known Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23790","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.69","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23646","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.34","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23799","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.43","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23801","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.45","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "24633","Untitled (Seated Woman)","Color coupler print"," Photographs","8 x 10in. (20.3 x 25.4cm)",,"North America","United States",,"1980","Not on View","20th century","","","","","","","From ","Anonymous Gift","85.23.2","Photographer: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "24620","Untitled (woman in striped dress with dog in garden)","Color coupler print"," Photographs","8 x 10in. (20.3 x 25.4cm)","photograph","North America","United States",,"1979","Not on View","20th century","","","","","","","From ","Anonymous Gift","85.23.10","Maker: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "24618","Untitled (woman in pool)","Color coupler print"," Photographs","8 x 10in. (20.3 x 25.4cm)",,"North America","United States",,"1980","Not on View","20th century","","","","","","","From ","Anonymous Gift","85.23.9","Maker: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "24613","Untitled (man on beach)","Color coupler print"," Photographs","8 x 10 in. (20.3 x 25.4cm)",,"North America","United States",,"1979","Not on View","20th century","","","","","","","From ","Anonymous Gift","85.23.4","Maker: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "26170","Untitled (Italian Social Landscapes)","Gelatin silver print"," Photographs","7 5/16 x 11 in. (18.57 x 27.94 cm) (image, sheet)",,"Europe","Italy",,"1954-1989","Not on View","20th century","","","","","","","From ","Gift of Lora and Martin G. Weinstein","89.125.26","Photographer: Enrico Sarsini","Artist","Italian","Italian, born 1939","%C2%A9 Enrico Sarsini","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "26112","Arco di Costantino, Roma","Albumen print"," Photographs","10 11/16 x 14 5/8 in. (27.15 x 37.15 cm) (image)",,"Europe","Italy",,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Alan Schlussel","89.126.6","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "21502","Title Page to Portfolio",""," Photographs",,,"North America","United States",,"1953-1977","Not on View","20th century","","","","","","","From ","The Kate and Hall J. Peterson Fund","77.7.12","Maker: George A. Tice","Artist","American","American, born 1938","%C2%A9 George Tice","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "21492","Title Page to Portfolio",""," Photographs",,,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From ","The Kate and Hall J. Peterson Fund","77.7.11","Maker: George A. Tice","Artist","American","American, born 1938","%C2%A9 George Tice","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "21922","Photographs: Harry Callahan","Book"," Photographs",,,"North America","United States",,"1964","Not on View","20th century","","","","","book of photographs published by El Mochuelo Gallery, 1964","","From ","Anonymous Gift","78.50","Photographer: Harry Callahan","Artist","American","American, 1912 - 1999","%C2%A9 Estate Harry Callahan %2F PaceWildensteinMacGill%2C New York","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23793","Untitled [View of Egypt]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Africa","Egypt",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.71","Photographer: Antonio Beato","Artist","Italian","Italian, c.1825 - 1903","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23795","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.49","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23805","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.56","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23810","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.53","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23785","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.64","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23803","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.57","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23633","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.31","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23648","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.36","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23642","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.30","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23206","Dine Drawing","Gelatin silver print"," Photographs","25 x 88 in. (63.5 x 223.52 cm) (image, approx.)",,"North America","United States",,"1982","Not on View","20th century","","","","","five prints in one piece (82.131.1-5)","","From ","The Ethel Morrison Van Derlip Fund","82.131.4","Photographer: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23798","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.42","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23778","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.65","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23796","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.40","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23787","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.66","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23645","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.33","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23660","Untitled [Mosque of Mohamed Ali, Cairo, Egypt]","Albumen print"," Photographs","8 9/16 x 11 1/16 in. (21.75 x 28.1 cm) (image)",,"Africa","Egypt",,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.23","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23800","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.44","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23749","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.38","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23794","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.63","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23789","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.68","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23837","Untitled [View of Egypt]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Africa","Egypt",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.73","Photographer: Antonio Beato","Artist","Italian","Italian, c.1825 - 1903","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23780","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.59","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23788","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.67","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23207","Dine Drawing","Gelatin silver print"," Photographs","25 x 88 in. (63.5 x 223.52 cm) (image, approx.)",,"North America","United States",,"1982","Not on View","20th century","","","","","five prints in one piece (82.131.1-5)","","From ","The Ethel Morrison Van Derlip Fund","82.131.5","Photographer: JoAnn Verburg","Artist","American","American, born 1950","%C2%A9 JoAnn Verburg","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23809","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.52","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23808","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.51","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23845","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.80","Photographer: Francis Frith","Artist","British","British, 1822-1898","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23836","Irish Jaunting Car","Albumen print"," Photographs","6 1/2 x 8 3/4 in. (16.51 x 22.23 cm) (image) 11 x 13 7/8 in. (27.94 x 35.24 cm) (mount)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.81","Photographer: Lee","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23786","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.55","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23784","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.62","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23783","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.61","Photographer: George Washington Wilson","Artist","Scottish","Scottish, 1823 - 1893","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "23802","Untitled [View of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.46","Photographer: James Valentine","Artist","Scottish","Scottish, 1815 - 1880","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "20753","Untitled","Gelatin silver print"," Photographs",,,"North America","United States",,"1961","Not on View","20th century","","","","","","","From ","The Kate and Hall J. Peterson Fund","75.45.2","Photographer: Glenn Halvorson","Artist","American","American, born 1946","%C2%A9 Glenn Halvorson","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60872","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.90","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60882","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.100","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60942","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.160","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60912","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.130","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60916","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.134","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60935","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.153","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60900","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.118","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60952","Untitled [view of England]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,"Europe","England",,"19th century","Not on View","19th century","","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.167","Photographer: H. W. Salmon","Artist","British","British","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60934","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.152","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60897","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.115","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60928","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.146","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60941","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.159","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60891","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.109","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60914","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.132","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60933","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.151","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60888","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.106","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60915","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.133","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60899","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.117","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60879","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.97","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60945","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.163","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60874","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.92","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60905","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.123","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "60892","Untitled [view of England or Middle East]","Albumen print"," Photographs","8 x 10 in. (20.3 x 25.4 cm) (approximate)",,,,,"Date Unknown","Not on View",,"","","","","","","From ","Gift of Mrs. George Chase Christian","82.72.110","","Artist",,,"","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "21046","Make-up","16 mm black and white film with optical sound"," Photographs; Time-based Media",,"Film","North America","United States",,"1973","Not on View","20th century","","","","","","",,"National Endowment for the Arts Photography Grant and the Kate and Hall J. Peterson Fund","76.20.1","Photographer: Joan Strommer","Artist",,,"%C2%A9 Joan Strommer","Arts of the Americas","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "143622","Subcontinentment","Sound installation"," Time-based Media","10 min., 22 sec.","Sound installation","Asia","India",,"2021","Not on View","21st century","","","","","master on a wood USB drive in a wooden case; digital file also received","",,"The Susan Jacobsen Endowment for Art Acquisition","2022.46.1","Artist: Himali Singh Soin","Artist","Indian","Indian, born 1987","","Global Contemporary Art","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.019606017,,,,,,,,,,,,,,,,,,,,,,, "123072","Untitled (Cheer)","Handmade box containing bundle of twenty-five color and monochromatic drawings (six double-sided) and various commercially printed ephemera (matchbook covers, food product labels/packaging, and comic strips); drawing media includes color of unknown origin, soot, and soot wash on various found paper and commercially printed cardboard supports; box sleeve and tray fashioned from thin gray found cardboard faced with cream paper (commercially printed Cheer laundry detergent packaging); cut, folded, and wrapped; sewn and tied with thick white (pink-toned) cotton string"," Drawings; Collages / Assemblages; Works on Paper","1 1/2 × 4 11/16 × 2 3/4 in. (3.81 × 11.91 × 6.99 cm) (box, closed)","Handmade box containing 25 drawings and 16 pieces of ephemera","North America","United States",,"after 1930","Not on View","20th century","","not signed","","Featuring more than two dozen unique drawings (some double-sided) and a selection of commercial ephemera, this remarkable James Castle “bundle” work is essentially a portable exhibition in a box. Most of the drawings are portraits or figurative compositions, though subjects include abstractions, landscapes, and an ocean liner. The selection incudes both color and black-and-white examples. Castle fashioned the exterior and tray of the box from a discarded carton of Cheer laundry detergent. It is nearly identical to the cardboard boxes of wooden kitchen matches that he favored as substrates for his soot drawings. But for him, everything had to be unique and handmade. The idea of organizing and storing drawings in discrete packages extended to the long-term storage of Castle’s artwork. He routinely stacked and tied finished works of art in bundles and then placed them in the family’s attic or in barns or outbuildings. He often set the bundles on open beams or placed them inside walls. The storage of small-scale drawings and items of commercial ephemera inside a discrete handmade box speaks to this penchant for preservation and categorization. Its intended purpose is unknown, though it may have operated as a miniaturized drawing exhibition.","matchbox-style cardboard box made from a Cheer detergent box with printing primarily in blues and yellow; pink string holds side of cover closed and holds ends of box closed; box contains various ephemera--including matchbook covers, small bits of newspaper with images, portions of cardboard and paper consumer product packaging--and mainly figurative drawings--some on rough paper, some on bits of packaging/cardboard","(Karen Lennox Gallery, Chicago, sold to Mersky 2016); Mary and Bob Mersky, Minneapolis; given to MIA, 2016","From ","Gift of Mary and Bob Mersky","2016.35.4a-qq","Artist: James Castle","Artist","American","American, 1899–1977","Copyright %C2%A9 2018 James Castle Collection and Archive LP%2C All rights reserved.","Arts of the Americas","In Copyright","valid",7216,5412,1,"1",1,,,"[""""]","media",0.019022586,,,,,,,,,,,,,,,,,,,,,,, "139062","Blood Collage","Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper"," Collages / Assemblages; Works on Paper","20 5/8 × 15 1/8 in. (52.4 × 38.4 cm) (sheet) 29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame)","Collage with hand-applied media","Europe","England",,"c. 1850-60","Not on View","19th century","Extensive inscription quoting the Bible and religious poetry","","","John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served, notably, as the first Speaker of Newfoundland’s House of Parliament. In 1834 he returned to England, where he ran his family’s firm until his death at age 83. Forty-five accomplished, fantastical “Blood Collages” by Garland survive, all likely executed in the 1850s—62 years before the medium of collage was officially “invented” by Picasso or Braque. Garland’s practice grew out of the Victorian craze for scrapbooking and decoupage, but little from that period hints at the extraordinary artistic heights he would take it. Drawing heavily on high-end reproductive prints of European masterworks, particularly religious art, as well as colorful, cheaply manufactured prints of flora, fauna, insects and reptile, he would meticulously cut and assemble hundreds of prints as source material to create astonishing, visionary collages. The works include extensive inscriptions of religious texts, gold and blue paper, painted gouache, and his signature drops of blood made with diluted red ink. The densely layered works incorporate a plethora of symbols—bleeding doves and crosses, red ankhs (Egyptian hieroglyph symbolizing life), serpents, skulls, stars, eggs—mixed with Christian and pagan imagery, architecture and ruins, sculpture, and archaeological fragments. It has been suggested that the mysterious, spiritual works reflect that the artist was a Freemason or member of the Knights of Templar.","paper collage with red blood drips and blue and gold birds; mostly black and white engravings with colored plants, foliage, and insects at left center and LRQ; imagery includes reclining reading woman with skull in LLC with blue and gold bird with blood drips above her and a butterfly on her head, crowned figure reading in a chariot pulled by a goat with a putto at LRQ, two armed angels with bird above them at top center, text written vertically in ULC, and Jesus in clouds with gold rays in ULQ; received in a medium toned wood frame","John Bingley Garland, Wimborne, Dorset, England (until d. 1875). Possibly, Sir Philip Burne-Jones (1861-1926), England ('until d. 1926); 'by descent, Peter Burne-Jones (until 1990; to Gibbs); [Christopher Gibbs, London; 1990–d.2018] Gibbs estate (2018-2019; to Libson-Yarker); [Lowell Libson & Jonny Yarker Ltd. British Art, London; 2019-21]; sold to MIA, 2021.","From ","The Driscoll Art Accessions Endowment Fund, the Anne and Hadlai Hull Endowment for Art Acquisition, and the Michael and Grace Bress Endowment for Art Acquisition","2021.22.1","Artist: John Bingley Garland","Artist",,"British, 1791–1875","","European Art","Public Domain","valid",5316,7016,0,"1",1,,,"[""""]","media",0.019022586,,,,,,,,,,,,,,,,,,,,,,, "139988","Blood Collage","Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper"," Collages / Assemblages; Works on Paper","20 5/8 × 15 3/16 in. (52.4 × 38.6 cm) (sheet) 29 9/16 × 24 7/16 × 1 3/4 in. (75.1 × 62.1 × 4.4 cm) (outer frame)","Collage with hand-applied media","Europe","England",,"c. 1850-60","Not on View","19th century","Extensive inscription quoting the Bible and religious poetry","","","John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served, notably, as the first Speaker of Newfoundland’s House of Parliament. In 1834 he returned to England, where he ran his family’s firm until his death at age 83. Forty-five accomplished, fantastical “Blood Collages” by Garland survive, all likely executed in the 1850s—62 years before the medium of collage was officially “invented” by Picasso or Braque. Garland’s practice grew out of the Victorian craze for scrapbooking and decoupage, but little from that period hints at the extraordinary artistic heights he would take it. Drawing heavily on high-end reproductive prints of European masterworks, particularly religious art, as well as colorful, cheaply manufactured prints of flora, fauna, insects and reptile, he would meticulously cut and assemble hundreds of prints as source material to create astonishing, visionary collages. The works include extensive inscriptions of religious texts, gold and blue paper, painted gouache, and his signature drops of blood made with diluted red ink. The densely layered works incorporate a plethora of symbols—bleeding doves and crosses, red ankhs (Egyptian hieroglyph symbolizing life), serpents, skulls, stars, eggs—mixed with Christian and pagan imagery, architecture and ruins, sculpture, and archaeological fragments. It has been suggested that the mysterious, spiritual works reflect that the artist was a Freemason or member of the Knights of Templar.","paper collage with red crosses and blood drips; mostly black and white engravings with blue ground in ULC and colored flowers and leaves around edges; imagery includes reclining reading woman at bottom center with a large brown butterfly on her head, Classical female figures at left and right (figure at left seated, figure at right standing) wearing red garments with gold stars, central Sacred Heart with bird, gold rays and stars and figure of Jesus with the money changers, large angels descending from clouds in ULC; received in a medium toned wood frame","John Bingley Garland, Wimborne, Dorset, England (until d. 1875). Possibly, Sir Philip Burne-Jones (1861-1926), England ('until d. 1926); 'by descent, Peter Burne-Jones (until 1990; to Gibbs); [Christopher Gibbs, London; 1990–d.2018] Gibbs estate (2018-2019; to Libson-Yarker); [Lowell Libson & Jonny Yarker Ltd. British Art, London; 2019-21]; sold to MIA, 2021.","From ","Gift of funds from the Paul and Sheila Steiner Charitable Trust, the Alpha Gustafson Endowment, the John E. and Marion Andrus III Fund in Support of the Department of Prints and Drawings, the Richard Lewis Hillstrom Fund, the Eugene and Virginia Palmer Fund for Prints and Drawings, the Plautz Family Endowment, an anonymous donor, the James and Maureen Duffey Endowment for Prints and Drawings, gift of funds from Mary C. Dolan - the Longview Foundation, and five other generous donors","2021.22.3","Artist: John Bingley Garland","Artist",,"British, 1791–1875","","European Art","Public Domain","valid",5287,7033,0,"1",1,,,"[""""]","media",0.019022586,,,,,,,,,,,,,,,,,,,,,,, "139987","Blood Collage","Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper"," Collages / Assemblages; Works on Paper","20 1/4 × 15 1/4 in. (51.4 × 38.7 cm) (sheet) 29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame)","Collage with hand-applied media","Europe","England",,"c. 1850-60","Not on View","19th century","Extensive inscription quoting the Bible and religious poetry","","","John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served, notably, as the first Speaker of Newfoundland’s House of Parliament. In 1834 he returned to England, where he ran his family’s firm until his death at age 83. Forty-five accomplished, fantastical “Blood Collages” by Garland survive, all likely executed in the 1850s—62 years before the medium of collage was officially “invented” by Picasso or Braque. Garland’s practice grew out of the Victorian craze for scrapbooking and decoupage, but little from that period hints at the extraordinary artistic heights he would take it. Drawing heavily on high-end reproductive prints of European masterworks, particularly religious art, as well as colorful, cheaply manufactured prints of flora, fauna, insects and reptile, he would meticulously cut and assemble hundreds of prints as source material to create astonishing, visionary collages. The works include extensive inscriptions of religious texts, gold and blue paper, painted gouache, and his signature drops of blood made with diluted red ink. The densely layered works incorporate a plethora of symbols—bleeding doves and crosses, red ankhs (Egyptian hieroglyph symbolizing life), serpents, skulls, stars, eggs—mixed with Christian and pagan imagery, architecture and ruins, sculpture, and archaeological fragments. It has been suggested that the mysterious, spiritual works reflect that the artist was a Freemason or member of the Knights of Templar.","paper collage with red crosses and blood drips; mostly black and white engravings with colored flowers, foliage, grapes, and snake; imagery includes figures flanking a blue decorative shield with gold crosses and text in LRQ, dead clergyman lying in state in LRC with crucified Christ above his face, figure on a bull at LLC, Classical man with a hole torn in his PL abdomen with a snake entwining his legs, Christ with a snake and flowers in ULQ, skulls with Mary Magdalene and Jesus in URQ; received in a medium toned wood frame","John Bingley Garland, Wimborne, Dorset, England (until d. 1875). Possibly, Sir Philip Burne-Jones (1861-1926), England ('until d. 1926); 'by descent, Peter Burne-Jones (until 1990; to Gibbs); [Christopher Gibbs, London; 1990–d.2018] Gibbs estate (2018-2019; to Libson-Yarker); [Lowell Libson & Jonny Yarker Ltd. British Art, London; 2019-21]; sold to MIA, 2021.","From ","The Driscoll Art Accessions Endowment Fund","2021.22.2","Artist: John Bingley Garland","Artist",,"British, 1791–1875","","European Art","Public Domain","valid",5273,7029,0,"1",1,,,"[""""]","media",0.019022586,,,,,,,,,,,,,,,,,,,,,,, "109311","Singing Man","Brushed aluminum, electrical components, compact disc player with remote control, compact disc and jewel case"," Sculpture; Digital Art; Time-based Media","82 x 43 x 31 in. (208.28 x 109.22 x 78.74 cm) (approx., including base)","Kinetic sculpture","North America","United States",,"1994","Not on View","20th century","","","","Jonathan Borofsky, born in 1942 in Boston, Massachusetts, has stated that most of his work is a mode of self-portraiture. Singing Man (1994) reflects an autobiographical expression of the artist’s interest in music, while, at the same time, manifests of his long struggle with the anxieties of daily patterns. Borofsky took aspects of the competing impulses of Pop art and Minimalism and combined them in this playful figurative sculpture, the aspect of his work for which he is best known. This classic example of his sculpture also merges his interests in humor and spirituality. It is an artwork that stands as both a timeless piece of figurative sculpture and a signature piece of its time. With its cyborg-like form of stainless steel and a mechanical jaw stuck in endless repetitive “singing,” it reflects one of the central concerns of 20th century philosophy – the loss of humanity in an age of mechanization. At its essence, it is an artwork that raises questions about the human spirit. Borofsky is well known for his sculptures of large figures like the Hammering Man, Chattering Man, and Many Walking to the Sky. One collective theme behind Borofsky's artwork is a reference to the ordinary contemporary man. His figures are unfocused and dream-like. Borofsky believes that in modern society we tend to judge who we are with how we are seen by others. The resulting anxiety leaves man trapped in a boring routine by repeating set patterns of dissatisfying behavior. At the same time our spirit strives for freedom from this behavior. Singing man breaks away from boring and frustrating patterns in daily life as he peacefully sings a chant. A portrait of the artist as well as a surrogate audience, Borofsky explains that the figure is an ""evolution to a more peaceful state of mind."" Given the artist's interest in music, this piece is particularly personal and autobiographical. It is accompanied by a 35-minute song titled ""Voice"" that was recorded by Borofsky in 1997 and used as the ori","standing abstracted man with flat legs, arms and toso; flat head (profile) with mechanized hinged jaw and speaker inside mouth; brushed silver patina; silver box attached with cords houses separate Kenwood compact disc player with remote control; CD included: ""Four Gods"" by Jonathan Borofsky","",,"Gift of Donna and Cargill MacMillan Jr.","2010.58.5a-e","Artist: Jonathan Borofsky","Artist","American","American, born 1942","%C2%A9 Jonathan Borofsky","Global Contemporary Art","In Copyright–Non-Commercial Use","valid",3303,5391,0,"1",0,,,"[""""]","media",0.019022586,,,,,,,,,,,,,,,,,,,,,,, "4424","Vertical Eliptical Motion, Large","Gelatin silver print"," Photographs","14 15/16 x 18 3/4 in. (37.94 x 47.63 cm) (image) 15 15/16 x 19 13/16 in. (40.48 x 50.32 cm) (sheet)","Photograph","North America","United States",,"1974","Not on View","20th century","","","","","","","From ","Gift of Herbert and Paula Molner","92.19.5","Photographer: Blythe Bohnen","Artist","American","American, born 1940","%C2%A9 1974 Blythe Bohnen","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "4472","Martha Graham, Letter to the World (Kick)","Gelatin silver print (printed 1980)"," Photographs","13 11/16 x 18 in. (34.77 x 45.72 cm) (image) 15 7/8 x 19 7/8 in. (40.32 x 50.48 cm) (sheet)",,"North America","United States",,"1940","Not on View","20th century","","","","","","","From ","The Ethel Morrison Van Derlip Fund","92.62.2","Photographer: Barbara Morgan","Artist","American","American, 1900 - 1992","%C2%A9 The Barbara Morgan Archives","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "8337","Carlyle","Photogravure"," Photographs","8 9/16 x 6 1/4 in. (21.75 x 15.88 cm) (image)",,"North America","United States",,"1867","Not on View","19th century","","","","","profile of bearded, white haired Thomas Carlyle","","From From ""Camera Work"" No. 41 (January 1913)","Gift of Julia Marshall","69.133.40.1","Photographer: Julia Margaret Cameron","Artist","British (born India)","British (born India), 1815-1879","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124521"",""8337""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "4143","The Last Chord","Gelatin silver print"," Photographs","9 7/8 x 12 15/16 in. (25.08 x 32.86 cm) (image) 20 x 15 15/16 in. (50.8 x 40.48 cm) (mount)",,"North America","United States",,"c. 1935","Not on View","20th century","","","","","","","From ","Gift of Fred W. and Jane Bell Edwards","91.128.11","Photographer: Hillary G. Bailey","Artist","American","American, 1894 - 1988","%C2%A9 Estate Hillary G. Bailey","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "4422","Horizontal Elliptical Motion, Small","Gelatin silver print"," Photographs","14 15/16 x 18 3/4 in. (37.94 x 47.63 cm) (image) 15 7/8 x 19 13/16 in. (40.32 x 50.32 cm) (sheet)","Photograph","North America","United States",,"1974","Not on View","20th century","","","","","","","From ","Gift of Herbert and Paula Molner","92.19.3","Photographer: Blythe Bohnen","Artist","American","American, born 1940","%C2%A9 1974 Blythe Bohnen","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "4676","R.P.M.","Gelatin silver print (sepia toned)"," Photographs","19 3/8 x 15 3/8 in. (49.21 x 39.05 cm) (image, trimmed) 19 15/16 x 16 in. (50.64 x 40.64 cm) (mount)",,"North America","United States",,"c. 1948","Not on View","20th century","","","","","","","From ","Gift of Thomas and Agnes Limborg","94.12.11","Photographer: Laverne L. Bovair","Artist","American","American, 1914 - 1991","%C2%A9 Estate Laverne L. Bovair","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9302","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.24","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9309","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.35","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9299","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.21","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9305","Untitled","Silver print (printed c.1978)"," Photographs","8 x 9 15/16 in. (20.32 x 25.24 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.30","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9312","Untitled","Silver print (printed c.1978)"," Photographs","9 7/8 x 7 15/16 in. (25.08 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.40","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9306","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.32","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9290","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.50","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9308","Untitled","Silver print"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913 (printed c. 1978)","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.34","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9304","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.28","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9303","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.27","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9301","Untitled","Silver print (printed c.1978)"," Photographs","9 7/8 x 7 15/16 in. (25.08 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.23","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9300","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.22","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9313","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.41","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "9298","Untitled","Silver print (printed c.1978)"," Photographs","9 7/8 x 7 15/16 in. (25.08 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.20","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "10919","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 15 in. (11.75 x 38.1 cm) (image) 6 1/2 x 15 15/16 in. (16.51 x 40.48 cm) (sheet)","Photograph","Antarctica",,,"c. 1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.9.9","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "10920","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 15 in. (11.75 x 38.1 cm) (image) 6 7/16 x 15 15/16 in. (16.35 x 40.48 cm) (sheet)","Photograph","North America","United States",,"1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.9.7","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "10914","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 15 in. (11.75 x 38.1 cm) (image) 6 1/2 x 15 15/16 in. (16.51 x 40.48 cm) (sheet)","Photograph","North America","United States",,"c. 1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.9.2","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "1710","The White Lady","Halftone (printed 1906)"," Photographs","8 3/16 x 6 3/16 in. (20.8 x 15.72 cm) (image)","Photograph","North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" Steichen Supplement (April 1906)","Gift of Julia Marshall","69.133.14.9","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124455"",""1710""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2171","Jerking Meat - Flathead","Photogravure"," Photographs","4 15/16 x 7 3/16 in. (12.54 x 18.26 cm) (image) 9 1/2 x 12 9/16 in. (24.13 x 31.91 cm) (sheet)",,"North America","United States",,"c. 1910","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Christopher Cardozo","75.15.8","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2169","A House - Front - Awaitlala","Photogravure"," Photographs","5 3/4 x 7 1/2 in. (14.61 x 19.05 cm) (image) 6 7/8 x 8 3/16 in. (17.46 x 20.8 cm) (sheet)",,"North America","United States",,"c. 1914","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Christopher Cardozo","75.15.6","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2648","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.19","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2166","Crests of a Nimkish Family","Photogravure"," Photographs","7 7/16 x 5 11/16 in. (18.89 x 14.45 cm) (image) 8 9/16 x 6 5/16 in. (21.75 x 16.03 cm) (sheet)",,"North America","United States",,"c. 1914","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Christopher Cardozo","75.15.3","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2971","Fractions","Gelatin silver print"," Photographs","14 7/16 x 17 1/8 in. (36.67 x 43.5 cm) (image) 16 x 19 7/8 in. (40.64 x 50.48 cm) (sheet)",,"North America","United States",,"1979","Not on View","20th century","","","","","","","From From ""Self Indulgence"" series","Mr. and Mrs. Julius E. Davis Fund","81.8.1","Photographer: Joel D. Levinson","Artist","American","American, born 1953","%C2%A9 Joel D. Levinson","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2588","Das Lan - Apache","Photogravure"," Photographs","7 15/16 x 5 5/16 in. (20.16 x 13.49 cm) (image) 8 3/8 x 5 15/16 in. (21.27 x 15.08 cm) (sheet)",,"North America","United States",,"c. 1907","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Stanley B. and Lucile A. Slocum","78.89.4","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2589","Sand Mosaic - Apache","Photogravure"," Photographs","4 15/16 x 6 1/4 in. (12.54 x 15.88 cm) (image) 6 1/8 x 6 15/16 in. (15.56 x 17.62 cm) (sheet)",,"North America","United States",,"c. 1907","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Stanley B. and Lucile A. Slocum","78.89.5","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2057","Fog in the Morning - Apsaroke","Photogravure"," Photographs","7 1/4 x 5 5/16 in. (18.42 x 13.49 cm) (image) 12 9/16 x 9 5/8 in. (31.91 x 24.45 cm) (mount)","Photograph","North America","United States",,"c. 1908","Not on View","20th century","","","","","","","From From ""The North American Indian""","Ethel Morrison Van Derlip Fund","74.41.15","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2590","Bone Carving - Cascade","Photogravure"," Photographs","7 1/4 x 5 3/8 in. (18.42 x 13.65 cm) (image) 8 3/8 x 5 15/16 in. (21.27 x 15.08 cm) (sheet)",,"North America","United States",,"c. 1910","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Stanley B. and Lucile A. Slocum","78.89.6","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2639","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.10","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2643","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.14","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2659","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.6","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2168","A Mamelekala Chief's Mortuary House","Photogravure"," Photographs","5 1/2 x 7 1/2 in. (13.97 x 19.05 cm) (image) 6 5/8 x 8 3/16 in. (16.83 x 20.8 cm) (sheet)",,"North America","United States",,"c. 1914","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Christopher Cardozo","75.15.5","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2591","A Yuma House","Photogravure"," Photographs","5 7/16 x 7 1/4 in. (13.81 x 18.42 cm) (image) 6 1/2 x 7 7/8 in. (16.51 x 20 cm) (sheet)",,"North America","United States",,"c. 1907","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Stanley B. and Lucile A. Slocum","78.89.7","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2162","Grizzily-Bear Dancer - Qagyuhl","Photogravure"," Photographs","7 1/2 x 5 7/16 in. (19.05 x 13.81 cm) (image) 8 11/16 x 6 1/8 in. (22.07 x 15.56 cm) (sheet)",,"North America","United States",,"c. 1914","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Christopher Cardozo","75.15.1","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11047","Untitled","Gelatin silver print"," Photographs","19 1/2 x 23 9/16 in. (49.53 x 59.85 cm) (image) 40 1/16 x 30 1/16 in. (101.76 x 76.36 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.57","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11044","Untitled","Gelatin silver print"," Photographs","23 11/16 x 19 5/16 in. (60.17 x 49.05 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.54","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11034","Untitled","Gelatin silver print"," Photographs","18 1/8 x 23 11/16 in. (46.04 x 60.17 cm) (image) 40 1/8 x 30 1/8 in. (101.92 x 76.52 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.44","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11482","Rulo, Nebraska","Cyanotype"," Photographs","3 3/4 x 4 3/4 in. (9.53 x 12.07 cm) (image) 4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.9","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11786","The Balloon Man","Photogravure"," Photographs","8 5/8 x 6 5/8 in. (21.91 x 16.83 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 40 (October 1912)","Gift of Julia Marshall","69.133.39.12","Photographer: Baron Adolf de Meyer","Artist","American (born France)","American (born France), 1868 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11786"",""124522""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11249","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 15 in. (11.75 x 38.1 cm) (image) 6 7/16 x 16 in. (16.35 x 40.64 cm) (sheet)","Photograph","North America","United States",,"c. 1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.10.10","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11330","Stonehenge","Gelatin silver print"," Photographs","19 1/4 x 13 11/16 in. (48.9 x 34.77 cm) (image) 27 15/16 x 22 in. (70.96 x 55.88 cm) (sheet)",,"North America","United States",,"c. 1970","Not on View","20th century","Signature","","LR on board","","mounted to board","","From ","Gift of Harry M. Drake","91.48.4","Photographer: Paul Caponigro","Artist","American","American, born 1932","Copyright %C2%A9 Paul Caponigro. All rights reserved.","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "12999","Untitled","laser print with watercolor and pastel"," Photographs","7 x 5 in. (17.78 x 12.7 cm) (image, sheet)",,"North America","United States",,"2000","Not on View","21st century","Signature; Inscription; Date","","\'TL/C.B.S./c2000\' in graphite, verso","","woman with yellow face in red jacket; '79¢' above her shoulder","","From From ""Caged Brain Series""","Gift of Audrey Glassman","2000.241.1","Photographer: Timothy Lamb","Artist","American","American, born 1951","%C2%A9 Timothy Lamb","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "10913","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 15 in. (11.75 x 38.1 cm) (image) 6 1/2 x 15 15/16 in. (16.51 x 40.48 cm) (sheet)","Photograph","North America","United States",,"c. 1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.9.4","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "10911","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 14 15/16 in. (11.75 x 37.94 cm) (image) 6 7/16 x 15 15/16 in. (16.35 x 40.48 cm) (sheet)","Photograph","North America","United States",,"c. 1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.9.1","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "13000","Untitled","laser print with watercolor and pastel"," Photographs","7 3/8 x 5 in. (18.73 x 12.7 cm) (image, sheet)",,"North America","United States",,"2000","Not on View","21st century","Signature; Inscription; Date","","\'TL/C.B.S./c2000\' in graphite, verso","","orange, shirtless man with white eye and mouth","","From From ""Caged Brain Series""","Gift of Audrey Glassman","2000.241.2","Photographer: Timothy Lamb","Artist","American","American, born 1951","%C2%A9 Timothy Lamb","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11248","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 15 in. (11.75 x 38.1 cm) (image) 6 1/2 x 16 in. (16.51 x 40.64 cm) (sheet)","Photograph","North America","United States",,"c. 1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.10.1","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11488","Band, Rulo, Nebraska","Cyanotype"," Photographs","3 3/4 x 4 3/4 in. (9.53 x 12.07 cm) (image) 4 7/8 x 6 1/2 in. (12.38 x 16.51 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.15","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11188","Burlington Bridge, Missouri River, Rulo, Nebraska","Cyanotype"," Photographs","3 11/16 x 4 3/4 in. (9.37 x 12.07 cm) (image) 4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.19","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11294","Ray Winterbottom and Hobson, Rulo, Nebraska","Cyanotype"," Photographs","4 3/4 x 3 13/16 in. (12.07 x 9.68 cm) (image) 6 1/2 x 4 7/8 in. (16.51 x 12.38 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.29","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11329","Blue Ridge Parkways","Gelatin silver print"," Photographs","7 3/8 x 9 5/16 in. (18.73 x 23.65 cm) (image) 14 1/16 x 16 15/16 in. (35.72 x 43.02 cm) (mount)",,"North America","United States",,"1965","Not on View","20th century","","","","","","","From ","The Miscellaneous Works of Art Purchase Fund","88.76.1","Photographer: Paul Caponigro","Artist","American","American, born 1932","Copyright %C2%A9 Paul Caponigro. All rights reserved.","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11187","Rulo, Nebraska","Cyanotype"," Photographs","3 11/16 x 4 3/4 in. (9.37 x 12.07 cm) (image) 4 7/8 x 6 1/2 in. (12.38 x 16.51 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.18","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11470","Margaret Jones and Hobson, Rulo, Nebraska","Cyanotype"," Photographs","4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (sheet)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","inscription page for album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.1","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11250","South Polar Plateau, Near the Geographic South Pole","color coupler print"," Photographs","4 5/8 x 15 in. (11.75 x 38.1 cm) (image) 6 9/16 x 15 15/16 in. (16.67 x 40.48 cm) (sheet)","Photograph","North America","United States",,"c. 1990","Not on View","20th century","","","","","","","From ","Gift of Stuart Klipper","92.152.10.2","Photographer: Stuart D. Klipper","Artist","American","American, born 1941","%C2%A9 Stuart D. Klipper","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11486","Mr. and Mrs. Winterbottom, Rulo, Nebraska","Cyanotype"," Photographs","3 3/4 x 4 3/4 in. (9.53 x 12.07 cm) (image) 4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.13","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11303","Roberta Thayer, Rulo, Nebraska","Cyanotype"," Photographs","3 13/16 x 4 5/8 in. (9.68 x 11.75 cm) (image) 4 7/8 x 6 5/8 in. (12.38 x 16.83 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.38","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11043","Untitled","Gelatin silver print"," Photographs","23 9/16 x 18 11/16 in. (59.85 x 47.47 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.53","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11483","Jim Mooney, John Mooney, Clara, and Jane, Rulo, Nebraska","Cyanotype"," Photographs","3 3/4 x 4 3/4 in. (9.53 x 12.07 cm) (image) 4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.10","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11350","Still Life","Photogravure"," Photographs","6 7/16 x 8 13/16 in. (16.35 x 22.38 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 24 (October 1908)","Gift of Julia Marshall","69.133.24.2","Photographer: Baron Adolf de Meyer","Artist","American (born France)","American (born France), 1868 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11350"",""124504""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11183","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.46","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11032","Untitled","Gelatin silver print"," Photographs","23 13/16 x 19 7/8 in. (60.48 x 50.48 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.42","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11099","The Pool","Photogravure"," Photographs","9 5/16 x 4 7/8 in. (23.65 x 12.38 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","three women at a swimming hole, with a large tree anchoring the composition","","From From ""Camera Work"" No.38 (April 1912)","Gift of Julia Marshall","69.133.37.5","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11099"",""124523""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11191","Circle Lake, South of Rulo, Nebraska","Cyanotype"," Photographs","3 5/8 x 4 3/4 in. (9.21 x 12.07 cm) (image) 4 7/8 x 6 1/2 in. (12.38 x 16.51 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.22","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11707","Cigarette Girl, A Poster Design","Halftone"," Photographs","6 7/8 x 5 in. (17.46 x 12.7 cm) (image) 10 3/4 x 7 13/16 in. (27.31 x 19.84 cm) (mount)",,"Europe","France",,"c. 1896","Not on View","19th-20th century","","","","","","","From From ""Camera Notes,"" July 1902 (vol.6, no.1)","The Miscellaneous Works of Art Purchase Fund","90.111.21.7","Photographer: Robert Demachy","Artist","French","French, 1859 - 1936","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11481","Rulo, Nebraska","Cyanotype"," Photographs","3 7/8 x 4 3/4 in. (9.84 x 12.07 cm) (image) 4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.8","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11179","When the Hills are Mown","Halftone"," Photographs","4 13/16 x 6 1/4 in. (12.22 x 15.88 cm) (image) 7 13/16 x 10 3/4 in. (19.84 x 27.31 cm) (mount)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Notes"" July 1902 (Vol. 6, No. 1)","The Miscellaneous Works of Art Purchase Fund","90.111.21.6","Photographer: Arthur E. Becher","Artist","American","American","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11045","Untitled","Gelatin silver print"," Photographs","23 11/16 x 18 9/16 in. (60.17 x 47.15 cm) (image) 40 1/16 x 30 1/16 in. (101.76 x 76.36 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.55","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11439","Study - - Miss R.","Photogravure"," Photographs","8 3/8 x 6 7/16 in. (21.27 x 16.35 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work,"" No. 8 (October 1904)","Gift of Julia Marshall","69.133.8.7","Photographer: Alvin Langdon Coburn","Artist","British (born United States)","British (born United States), 1882-1966","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11439"",""124425""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11311","George Frederick Watts, R.A.","Photogravure"," Photographs","9 5/8 x 7 3/16 in. (24.45 x 18.26 cm) (image) 17 3/4 x 14 5/8 in. (45.09 x 37.15 cm) (sheet)",,"Europe","England",,"1893","Not on View","19th century","","","","","","","From From ""Alfred, Lord Tennyson and His Friends"" 1893","Gift of Alan Schlussel","89.126.13","Photographer: Henry Herschel Hay Cameron","Artist","British","British, 1856 - 1911","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11095","Finis","Photogravure"," Photographs","5 5/16 x 9 7/16 in. (13.49 x 23.97 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","nude woman curls her body around a rock and claps her hands behind her head","","From From ""Camera Work"" No.38 (April 1912)","Gift of Julia Marshall","69.133.37.3","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11095"",""124523""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11299","Rulo, Nebraska","Cyanotype"," Photographs","4 5/8 x 3 3/4 in. (11.75 x 9.53 cm) (image) 6 1/2 x 4 7/8 in. (16.51 x 12.38 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.34","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11093","Dawn","Photogravure"," Photographs","4 1/8 x 9 9/16 in. (10.48 x 24.29 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","nude woman lies across a mountain top on her right side, with her left arm slightly raised","","From From ""Camera Work"" No.38 (April 1912)","Gift of Julia Marshall","69.133.37.2","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11093"",""124523""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11038","Untitled","Gelatin silver print"," Photographs","15 1/16 x 23 3/8 in. (38.31 x 59.37 cm) (image) 40 1/16 x 30 1/16 in. (101.76 x 76.36 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.48","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11041","Untitled","Gelatin silver print"," Photographs","23 9/16 x 17 1/16 in. (59.85 x 43.34 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.51","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11618","Prof. Adolf v. Seitz","Photogravure"," Photographs","6 5/8 x 4 3/4 in. (16.83 x 12.07 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 31 (July 1910)","Gift of Julia Marshall","69.133.31.6","Photographer: Frank Eugene","Artist","German","German (born United States), 1865 - 1936","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11618"",""124511""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11042","Untitled","Gelatin silver print"," Photographs","23 13/16 x 19 5/8 in. (60.48 x 49.85 cm) (image) 40 1/16 x 30 1/16 in. (101.76 x 76.36 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.52","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11192","Catholic Church, Rulo, Nebraska","Cyanotype"," Photographs","3 13/16 x 4 13/16 in. (9.68 x 12.22 cm) (image) 4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.23","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11449","Bernard Shaw","Photogravure"," Photographs","8 5/16 x 6 7/16 in. (21.11 x 16.35 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 21 (January 1908)","Gift of Julia Marshall","69.133.21.5","Photographer: Alvin Langdon Coburn","Artist","British (born United States)","British (born United States), 1882-1966","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11449"",""124502""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11304","Owls, Rulo, Nebraska","Cyanotype"," Photographs","3 11/16 x 4 1/2 in. (9.37 x 11.43 cm) (image) 4 7/8 x 6 7/16 in. (12.38 x 16.35 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.39","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11097","The Wondrous Globe","Photogravure"," Photographs","4 3/4 x 7 13/16 in. (12.07 x 19.84 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","nude boy kneeling on a large rock while holding a ball","","From From ""Camera Work"" No.38 (April 1912)","Gift of Julia Marshall","69.133.37.4","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11097"",""124523""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11030","""Well I was. . .""","Gelatin silver print"," Photographs","9 3/8 x 7 11/16 in. (23.81 x 19.53 cm) (image) 20 x 30 in. (50.8 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.40","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11136","Return from the Pasture","halftone"," Photographs","4 11/16 x 5 7/8 in. (11.91 x 14.92 cm) (image) 7 3/4 x 10 11/16 in. (19.69 x 27.15 cm) (mount)",,"Europe","Scotland",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Notes,"" January 1902 (vol. 5, no. 3)","The Miscellaneous Works of Art Purchase Fund","90.111.19.7","Photographer: James Craig Annan","Artist","British","British (Scotland), 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11208","Decorative Panel","Halftone"," Photographs","4 15/16 x 7 1/2 in. (12.54 x 19.05 cm) (image) 7 3/8 x 10 5/8 in. (18.73 x 26.99 cm) (sheet)",,"North America","United States",,"19th century","Not on View","19th century","","","","","","","From From ""Camera Notes,"" April 1900 (vol. 3, no. 4)","The Miscellaneous Works of Art Purchase Fund","90.111.12.2","Photographer: Frank Eugene","Artist","German","German (born United States), 1865 - 1936","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11620","Dr. Emmanuel Lasker and his Brother","Photogravure"," Photographs","6 15/16 x 4 15/16 in. (17.62 x 12.54 cm) (image)","","North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 31 (July 1910)","Gift of Julia Marshall","69.133.31.8","Photographer: Frank Eugene","Artist","German","German (born United States), 1865 - 1936","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11620"",""124511""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11040","Untitled","Gelatin silver print"," Photographs","23 11/16 x 19 15/16 in. (60.17 x 50.64 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.50","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11024","""Well do you. . .""","Gelatin silver print, handwritten text"," Photographs","30 1/16 x 20 in. (76.36 x 50.8 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.34","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11489","Yard, Rulo, Nebraska","Cyanotype"," Photographs","3 3/4 x 4 3/4 in. (9.53 x 12.07 cm) (image) 4 7/8 x 6 1/2 in. (12.38 x 16.51 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.16","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11182","Untitled","Silver print (printed c.1978)"," Photographs","8 x 9 15/16 in. (20.32 x 25.24 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.45","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11475","Winter Scene, Backyard, Rulo, Nebraska","Cyanotype"," Photographs","3 11/16 x 4 11/16 in. (9.37 x 11.91 cm) (image) 4 7/8 x 6 1/2 in. (12.38 x 16.51 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.2","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11180","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.43","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11242","The White Wall","Halftone"," Photographs","6 5/16 x 4 1/4 in. (16.03 x 10.8 cm) (image) 10 11/16 x 7 3/4 in. (27.15 x 19.69 cm) (mount)",,"North America","United States",,"1901","Not on View","20th century","","","","","","","From From ""Camera Notes,"" April 1902 (vol.5, no.4)","The Miscellaneous Works of Art Purchase Fund","90.111.20.8","Photographer: John G. Bullock","Artist","American","American, 1854 - 1939","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11331","Negative Print No. 4, Brewster, New York","Gelatin silver print"," Photographs","10 11/16 x 13 5/8 in. (27.15 x 34.61 cm) (image) 11 x 13 7/8 in. (27.94 x 35.24 cm) (sheet)",,"North America","United States",,"1963","Not on View","20th century","","","","","matted","","From ","Gift of Dr. Lee A. Kitzenberg","90.129.16","Photographer: Paul Caponigro","Artist","American","American, born 1932","Copyright %C2%A9 Paul Caponigro. All rights reserved.","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11239","A Portrait","Photogravure"," Photographs","6 5/8 x 4 5/8 in. (16.83 x 11.75 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","a seated woman holding a necklace in her right hand","","From From ""Camera Work"" No. 48 (October 1916)","Gift of Julia Marshall","69.133.46.9","Photographer: Francis Bruguière","Artist","American","American, 1879 - 1945","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11239"",""124538""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11450","Alfred Stieglitz, Esq.","Photogravure"," Photographs","6 1/4 in. (15.88 cm) (image, diameter)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 21 (January 1908)","Gift of Julia Marshall","69.133.21.6","Photographer: Alvin Langdon Coburn","Artist","British (born United States)","British (born United States), 1882-1966","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11450"",""124502""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11485","John Mooney and Mary Margaret, Rulo, Nebraska","Cyanotype"," Photographs","4 13/16 x 3 13/16 in. (12.22 x 9.68 cm) (image) 6 1/2 x 4 7/8 in. (16.51 x 12.38 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.12","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11046","Untitled","Gelatin silver print"," Photographs","23 5/8 x 16 3/8 in. (60.01 x 41.59 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.56","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11029","""You know this. . .""","Gelatin silver print, handwritten text"," Photographs","30 1/8 x 20 1/16 in. (76.52 x 50.96 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","Two photographs on this page","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.39","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11036","Untitled","Gelatin silver print"," Photographs","23 13/16 x 19 13/16 in. (60.48 x 50.32 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.46","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11603","Lady of Charlotte","Photogravure"," Photographs","4 1/2 x 3 5/16 in. (11.43 x 8.41 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 25 (January 1909)","Gift of Julia Marshall","69.133.25.9","Photographer: Frank Eugene","Artist","German","German (born United States), 1865 - 1936","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11603"",""124510""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11035","Untitled","Gelatin silver print"," Photographs","23 5/8 x 15 3/4 in. (60.01 x 40.01 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.45","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11087","The Brook","Photogravure"," Photographs","6 3/16 x 8 3/8 in. (15.72 x 21.27 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","nude woman crouching down in a stream with a rapid current","","From From ""Camera Work"" No.25 (January 1909)","Gift of Julia Marshall","69.133.25.3","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11087"",""124510""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11476","John S. Winterbottom Residence, Rulo, Nebraska","Cyanotype"," Photographs","3 3/4 x 4 13/16 in. (9.53 x 12.22 cm) (image) 4 7/8 x 6 1/8 in. (12.38 x 15.56 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.3","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11491","Rulo, Nebraska","Cyanotype"," Photographs","4 3/4 x 3 13/16 in. (12.07 x 9.68 cm) (image) 6 9/16 x 4 7/8 in. (16.67 x 12.38 cm) (sheet)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.42","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11091","The Cleft of the Rock","Photogravure"," Photographs","9 3/16 x 5 1/8 in. (23.34 x 13.02 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","a nude woman standing between two rocks","","From From ""Camera Work"" No.38 (April 1912)","Gift of Julia Marshall","69.133.37.1","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11091"",""124523""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11292","Hobson and Ray Winterbottom's Hunting Equipment, Rulo, Nebraska","Cyanotype"," Photographs","3 5/8 x 4 13/16 in. (9.21 x 12.22 cm) (image) 4 7/8 x 6 1/2 in. (12.38 x 16.51 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.27","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11791","A Head Study","Halftone"," Photographs","4 3/4 x 6 5/16 in. (12.07 x 16.03 cm) (image) 7 13/16 x 10 3/4 in. (19.84 x 27.31 cm) (mount)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Notes,"" December 1903 (vol. 6, no. 4)","The Miscellaneous Works of Art Purchase Fund","90.111.24.4","Photographer: F. Detlefsen","Artist","American","American","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11478","Foot Bridge, ""Lover's Lane,"" Leading to Depot, Rulo, Nebraska","Cyanotype"," Photographs","3 3/4 x 4 3/4 in. (9.53 x 12.07 cm) (image) 4 7/8 x 6 9/16 in. (12.38 x 16.67 cm) (mount)",,"North America","United States",,"c. 1900","Not on View","19th-20th century","","","","","from album","","From ","Gift of Mary Beth Thayer DeMarce","84.98.5","Photographer: Agnes Winterbottom Cooney","Artist","American","American, 1878-1940","","Photography and New Media","Public Domain","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11037","Untitled","Gelatin silver print"," Photographs","18 3/16 x 23 3/4 in. (46.2 x 60.33 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.47","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11260","Path Up the Hill Side","Halftone"," Photographs","6 7/8 x 3 3/8 in. (17.46 x 8.57 cm) (image) 10 11/16 x 7 3/4 in. (27.15 x 19.69 cm) (mount)",,"Europe","England",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Notes,"" January 1902 (vol. 5, no. 3)","The Miscellaneous Works of Art Purchase Fund","90.111.19.5","Photographer: Will A. Cadby","Artist","English","English","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11184","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)","","North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.48","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11033","Untitled","Gelatin silver print"," Photographs","23 3/4 x 18 9/16 in. (60.33 x 47.15 cm) (image) 40 1/16 x 30 1/16 in. (101.76 x 76.36 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.43","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11031","Untitled","Gelatin silver print"," Photographs","19 9/16 x 23 7/8 in. (49.69 x 60.64 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.41","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11039","Untitled","Gelatin silver print"," Photographs","18 1/2 x 23 9/16 in. (46.99 x 59.85 cm) (image) 40 1/16 x 30 in. (101.76 x 76.2 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.49","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11181","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 7 15/16 in. (25.24 x 20.16 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.44","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11185","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.49","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11085","The Dying Cedar","Photogravure"," Photographs","9 3/16 x 5 7/16 in. (23.34 x 13.81 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","a partially nude woman stretching against a twisting tree on a hillside","","From From ""Camera Work"" No.25 (January 1909)","Gift of Julia Marshall","69.133.25.2","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""11085"",""124510""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "11049","Untitled","Gelatin silver print"," Photographs","23 7/16 x 16 1/16 in. (59.53 x 40.8 cm) (image) 40 1/16 x 30 1/16 in. (101.76 x 76.36 cm) (mount)",,"North America","United States",,"c. 1960","Not on View","20th century","","","","","","","From From ""Rooms to Let"" series","Gift of the Artist","63.31.59","Photographer: Frank Agar Jr.","Artist","American","American, 1917 - 1999","%C2%A9 Frank Agar%2C Jr.","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "13184","Untitled","Gelatin silver print"," Photographs","9 1/2 x 7 5/8 in. (24.13 x 19.37 cm) (image) 9 15/16 x 8 in. (25.24 x 20.32 cm) (sheet)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From ","Gift of Kate Butler Peterson","2000.242.2","Photographer: Lewis W. Hine","Artist","American","American, 1874 - 1940","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "5488","Municipal Golf Course","Toned gelatin silver print"," Photographs","22 x 32 3/4 in. (55.88 x 83.19 cm) (image) 28 1/2 x 39 1/8 in. (72.39 x 99.38 cm) (sheet)",,"North America","United States",,"1971","Not on View","20th century","","","","","","","From ","Gift of Gary Sherman","97.95.1","Photographer: Gary L. Hallman","Artist","American","American, born 1940","%C2%A9 Gary Hallman","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19532","The Man that Resembles Erasmus","Photogravure (printed 1913)"," Photographs","6 11/16 x 6 7/16 in. (16.99 x 16.35 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.7","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19514","M. Auguste Rodin","Photogravure (printed 1911)"," Photographs","9 7/16 x 6 9/16 in. (23.97 x 16.67 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No.34/35 (April/July 1911)","Gift of Julia Marshall","69.133.34.1","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19432","Drops of Rain","Photogravure"," Photographs","7 5/8 x 6 1/8 in. (19.37 x 15.56 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 23 (July 1908)","Gift of Julia Marshall","69.133.23.13","Photographer: Clarence H. White","Artist","American","American, 1871 - 1925","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124503"",""19432""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19429","Snapshot--In the New York Central Yards","Photogravure"," Photographs","7 5/8 x 6 3/16 in. (19.37 x 15.72 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 20 (October 1907)","Gift of Julia Marshall","69.133.20.9","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124479"",""19429""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19445","La Cigale","Photogravure (printed 1906)"," Photographs","6 5/16 x 7 1/16 in. (16.03 x 17.94 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" Steichen Supplement (April 1906)","Gift of Julia Marshall","69.133.14.6","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124455"",""19445""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19528","Vitality--Yvette Guilbert","Photogravure (printed 1913)"," Photographs","9 7/16 x 6 9/16 in. (23.97 x 16.67 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.1","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19516","Alvin Langdon Coburn and His Mother","Photogravure"," Photographs","8 5/16 x 6 1/4 in. (21.11 x 15.88 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 32 (October 1910)","Gift of Julia Marshall","69.133.32.9","Photographer: Clarence H. White","Artist","American","American, 1871 - 1925","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19444","William Merritt Chase","Photogravure (printed 1906)"," Photographs","8 1/8 x 6 1/2 in. (20.64 x 16.51 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" Steichen Supplement (April 1906)","Gift of Julia Marshall","69.133.14.5","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124455"",""19444""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19597","Mary Learns to Walk","Photogravure (printed 1913)"," Photographs","8 1/4 x 6 3/8 in. (20.96 x 16.19 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.4","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19529","The Photographer's Best Model--G. Bernard Shaw","Photogravure (printed 1913)"," Photographs","7 15/16 x 6 1/2 in. (20.16 x 16.51 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.10","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19593","Over the House Tops, Missen","Photogravure"," Photographs","9 1/16 x 4 15/16 in. (23.02 x 12.54 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 38 (April 1912)","Gift of Julia Marshall","69.133.37.12","Photographer: Karl F. Struss","Artist","American","American, 1886 - 1981","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124523"",""19593""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19478","Snapshot--From My Window, New York","Photogravure"," Photographs","7 5/16 x 5 1/8 in. (18.57 x 13.02 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 20 (October 1907)","Gift of Julia Marshall","69.133.20.7","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124479"",""19478""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19943","Semi Trailer, Minneapolis","Gelatin silver print"," Photographs","7 1/4 x 7 1/4 in. (18.42 x 18.42 cm) (image) 13 7/8 x 10 7/8 in. (35.24 x 27.62 cm) (sheet)",,"North America","United States",,"1972","Not on View","20th century","","","","","","","From ","The Kate and Hall J. Peterson Fund","73.28.3","Photographer: Frank W. Gohlke","Artist","American","American, born 1942","%C2%A9 Frank Gohlke","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19446","The Model and the Mask","Photogravure (printed 1906)"," Photographs","6 9/16 x 8 1/8 in. (16.67 x 20.64 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" Steichen Supplement (April 1906)","Gift of Julia Marshall","69.133.14.8","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124455"",""19446""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19542","Passing Steamer","Photogravure"," Photographs","6 5/8 x 7 in. (16.83 x 17.78 cm) (image)",,"North America","United States",,"1900-1912","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 39 (July 1912)","Gift of Julia Marshall","69.133.38.6","Photographer: Paul B. Haviland","Artist","American (born France)","American (born France), 1880-1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "3370","Lino de Duelo","Fresson print (direct carbon)"," Photographs","17 1/8 x 12 1/16 in. (43.5 x 30.64 cm) (image, sheet)",,"Europe","Spain",,"1932","Not on View","20th century","","","","","","","From ","Gift of the Patrick and Aimee Butler Family Foundation","85.90","Photographer: José Ortiz-Echagüe","Artist","Spanish","Spanish, 1886 - 1980","Copyright of the artist%2C artist%27s estate%2C or assignees","Photography and New Media","In Copyright–Rights-holder(s) Unlocatable","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2060","Flathead Female Type","Photogravure"," Photographs","7 3/16 x 5 in. (18.26 x 12.7 cm) (image) 8 3/8 x 5 11/16 in. (21.27 x 14.45 cm) (sheet)","Photograph","North America","United States",,"c. 1910","Not on View","20th century","","","","","","","From From ""The North American Indian""","Ethel Morrison Van Derlip Fund","74.41.18","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2170","Preparing Salmon - Wishham","Photogravure"," Photographs","5 5/16 x 7 5/16 in. (13.49 x 18.57 cm) (image) 9 9/16 x 12 9/16 in. (24.29 x 31.91 cm) (sheet)",,"North America","United States",,"c. 1909","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Christopher Cardozo","75.15.7","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2782","Cape Cod","Dye transfer print"," Photographs","7 x 9 1/4 in. (17.78 x 23.5 cm) (image) 8 15/16 x 10 3/16 in. (22.7 x 25.88 cm) (sheet)",,"North America","United States",,"1978","Not on View","20th century","","","","","wide lux sand picture, Cape Cod, Massachusetts","","From ","Gift of Emanuel M. Brotman","80.69.26","Photographer: Harry Callahan","Artist","American","American, 1912 - 1999","%C2%A9 Estate Harry Callahan %2F PaceWildensteinMacGill%2C New York","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2638","Untitled","Gelatin silver print"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913 (printed c. 1978)","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.1","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2592","Nalin Lage - Apache","Photogravure"," Photographs","7 1/4 x 5 3/8 in. (18.42 x 13.65 cm) (image) 8 3/8 x 6 in. (21.27 x 15.24 cm) (sheet)",,"North America","United States",,"c. 1906","Not on View","20th century","","","","","","","From From ""The North American Indian""","Gift of Stanley B. and Lucile A. Slocum","78.89.8","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2658","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.5","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2059","Many Bears - Flathead","Photogravure"," Photographs","7 3/16 x 5 in. (18.26 x 12.7 cm) (image) 8 3/8 x 5 11/16 in. (21.27 x 14.45 cm) (sheet)","Photograph","North America","United States",,"c. 1910","Not on View","20th century","","","","","","","From From ""The North American Indian""","Ethel Morrison Van Derlip Fund","74.41.17","Photographer: Edward S. Curtis","Artist","American","American, 1868-1952","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "2646","Untitled","Silver print (printed c.1978)"," Photographs","9 15/16 x 8 in. (25.24 x 20.32 cm) (image, sheet)",,"North America","United States",,"c. 1911-1913","Not on View","20th century","","","","","","","From From ""E. J. Bellocq"" album","The Miscellaneous Works of Art Purchase Fund","80.11.17","Photographer: E. J. Bellocq; Printer: Lee Friedlander; Publisher: Haywire Press","Artist","American","American, born 1934","%C2%A9 Lee Friedlander","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "6118","Take Flight","Mixed media"," Books","8 1/2 x 5 5/8 in. (21.59 x 14.29 cm)","Artist's book","North America","United States",,"1994","Not on View","20th century","","","","","unique artist's book, stored in tan/brown clamshell box","","From ","Gift of funds from the Print and Drawing Council","B.95.4","Artist: Joan M. Soppe; Publisher: Joan M. Soppe","Artist","American","American","%C2%A9 Joan M. Soppe","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "1711","Self-Portrait","Photogravure (printed 1903)"," Photographs","8 7/16 x 6 3/8 in. (21.43 x 16.19 cm) (image)","Photograph","North America","United States",,"printed 1903","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 2 (April 1903)","Gift of Julia Marshall","69.133.2.3","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""10724"",""1711""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "1717","Adam and Eve","Photogravure"," Photographs","7 x 5 in. (17.78 x 12.7 cm) (image)","Photograph","North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 30 (April 1910)","Gift of Julia Marshall","69.133.30.1","Photographer: Frank Eugene","Artist","German","German (born United States), 1865 - 1936","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124512"",""1717""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "1712","Still Life","Photogravure"," Photographs","7 9/16 x 6 1/8 in. (19.21 x 15.56 cm) (sheet)","Photograph","North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 24 (October 1908)","Gift of Julia Marshall","69.133.24.4","Photographer: Baron Adolf de Meyer","Artist","American (born France)","American (born France), 1868 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124504"",""1712""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "1708","Portraits--Evening","Photogravure (printed 1906)"," Photographs","7 5/16 x 6 11/16 in. (18.57 x 16.99 cm) (image)","Photograph","North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" Steichen Supplement (April 1906)","Gift of Julia Marshall","69.133.14.4","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124455"",""1708""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "1714","The Source","Photogravure"," Photographs","9 1/4 x 5 7/16 in. (23.5 x 13.81 cm) (image)","Photograph","North America","United States",,"20th century","Not on View","20th century","","","","","nude woman, kneeling on a bed of rocks, pours water from a jug","","From From ""Camera Work"" No.25 (January 1909)","Gift of Julia Marshall","69.133.25.4","Photographer: Anne W. Brigman","Artist","American","American, 1869 - 1950","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124510"",""1714""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "22147","Minneapolis","Color coupler print"," Photographs","14 7/16 x 14 5/16 in. (36.67 x 36.35 cm) (image) 19 15/16 x 15 15/16 in. (50.64 x 40.48 cm) (sheet)",,"North America","United States",,"1979","Not on View","20th century","","","","","(iron fence, tree in front of pink-roofed garage)","","From ","The John R. Van Derlip Fund","79.39.2","Photographer: Lawrence J. Merrill","Artist","American","American, born 1948","%C2%A9 Larry Merrill","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "22178","Minneapolis","Color coupler print"," Photographs","14 1/2 x 14 5/16 in. (36.83 x 36.35 cm) (image) 19 15/16 x 15 15/16 in. (50.64 x 40.48 cm) (sheet)",,"North America","United States",,"1979","Not on View","20th century","","","","","(two white houses, pathway between them)","","From ","The John R. Van Derlip Fund","79.39.1","Photographer: Lawrence J. Merrill","Artist","American","American, born 1948","%C2%A9 Larry Merrill","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "22299","Untitled","Gelatin silver print"," Photographs","8 1/8 x 13 1/4 in. (20.64 x 33.66 cm) (image) 9 13/16 x 13 13/16 in. (24.92 x 35.08 cm) (mount)",,"North America","United States (?)",,"1912-1980","Not on View","20th century","","","","","front facade of The Minneapolis Institute of Arts","","From ","Gift of Robert Kurtz","80.70.1","","Artist",,,"","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "81345","Italian Landscape","Halftone"," Photographs","4 7/8 x 5 13/16 in. (12.38 x 14.76 cm) (image) 7 5/8 x 10 5/8 in. (19.37 x 26.99 cm) (mount)",,"Europe","Austria",,"1902","Not on View","20th century","","","","","","","From From ""Camera Notes,"" July 1900 (vol. 4, no. 1)","The Miscellaneous Works of Art Purchase Fund","90.111.13.3","Photographer: Hugo Henneberg","Artist","Austrian","Austrian, 1863-1918","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "81825","Sunset","Halftone"," Photographs","4 x 7 1/8 in. (10.16 x 18.1 cm) (image) 7 3/4 x 10 11/16 in. (19.69 x 27.15 cm) (mount)",,"Europe","Germany",,"late 19th-early 20th century","Not on View","19th-20th century","","","","","","","From From ""Camera Notes,"" April 1902 (vol. 5, no. 4)","The Miscellaneous Works of Art Purchase Fund","90.111.20.5","Photographer: Heinrich Keuhn","Artist","Austrian (born Germany)","Austrian (born Germany), 1866-1944","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "81422","Fleeting Shadows","Halftone"," Photographs","6 9/16 x 5 in. (16.67 x 12.7 cm) (image) 10 5/8 x 7 3/8 in. (26.99 x 18.73 cm) (sheet)",,"Europe","England",,"c. 1897","Not on View","19th-20th century","","","","","","","From From ""Camera Notes,"" January 1900 (vol. 3, no. 3)","The Miscellaneous Works of Art Purchase Fund","90.111.11.6","Photographer: Horsely A. Hinton","Artist","English","English, 1863-1908","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "81342","Landscape","Halftone"," Photographs","4 5/8 x 5 15/16 in. (11.75 x 15.08 cm) (image) 10 11/16 x 7 3/4 in. (27.15 x 19.69 cm) (mount)",,"Europe","Austria",,"1902","Not on View","20th century","","","","","","","From From ""Camera Notes,"" April 1902 (vol. 5, no. 4)","The Miscellaneous Works of Art Purchase Fund","90.111.20.3","Photographer: Hugo Henneberg","Artist","Austrian","Austrian, 1863-1918","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "81420","On Suffolk Meadows","Halftone"," Photographs","6 1/4 x 4 15/16 in. (15.88 x 12.54 cm) (image) 10 5/8 x 7 3/8 in. (26.99 x 18.73 cm) (sheet)",,"Europe","England",,"c. 1895","Not on View","19th century","","","","","","","From From ""Camera Notes,"" January 1900 (vol. 3, no. 3)","The Miscellaneous Works of Art Purchase Fund","90.111.11.2","Photographer: Horsely A. Hinton","Artist","English","English, 1863-1908","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "81484","Before the Wind","Halftone"," Photographs","4 1/8 x 5 7/8 in. (10.48 x 14.92 cm) (image) 7 13/16 x 10 3/4 in. (19.84 x 27.31 cm) (mount)",,,,,"19th-20th century","Not on View","19th-20th century","","","","","","","From From ""Camera Notes,"" July 1902 (vol. 6, no. 1)","The Miscellaneous Works of Art Purchase Fund","90.111.21.5","Photographer: Charles F. Inston","Artist","English","English","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "81346","Ploughing","Halftone"," Photographs","4 5/8 x 6 5/8 in. (11.75 x 16.83 cm) (image) 7 3/4 x 10 11/16 in. (19.69 x 27.15 cm) (mount)",,"Europe","Austria",,"1902","Not on View","20th century","","","","","","","From From ""Camera Notes,"" April 1902 (vol. 5, no. 4)","The Miscellaneous Works of Art Purchase Fund","90.111.20.2","Photographer: Hugo Henneberg","Artist","Austrian","Austrian, 1863-1918","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "82369","The End of the Day","Gelatin silver print"," Photographs","5 3/16 x 7 1/8 in. (13.18 x 18.1 cm) (image) 7 13/16 x 10 3/4 in. (19.84 x 27.31 cm) (mount)",,"Europe","Scotland",,"1903","Not on View","20th century","","","","","","","From From ""Camera Notes,"" February 1903 (Vol. 6, No. 3)","The Miscellaneous Works of Art Purchase Fund","90.111.23.4","Photographer: James Patrick","Artist","Scottish","Scottish, 1830 - 1923","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "82370","""But...""","Color coupler print"," Photographs","6 13/16 x 9 1/2 in. (17.3 x 24.13 cm) (image) 8 x 10 in. (20.32 x 25.4 cm) (sheet)",,"Europe","England",,"c. 1974","Not on View","20th century","Signature","[Michael Peel]","","","","","From From ""The Camera Never Lies"" book","Given through the Martin Ackerman Foundation, New York","80.71.2","Photographer: Michael Peel","Artist","British","British","%C2%A9 Michael Peel %2F Circle Press. All Rights Reserved","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "82988","Poplars and Clouds","Halftone"," Photographs","7 1/2 x 4 3/4 in. (19.05 x 12.07 cm) (image) 10 5/8 x 7 5/8 in. (26.99 x 19.37 cm) (mount)",,"Europe","Austria",,"late 19th-early 20th century","Not on View","19th-20th century","","","","","","","From From ""Camera Notes,"" January 1901 (vol. 4, no. 3)","The Miscellaneous Works of Art Purchase Fund","90.111.15.8","Photographer: Hans Watzek","Artist","Austrian","Austrian, 1848 - 1903","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "82034","Niagara Falls","Photogravure"," Photographs","4 7/8 x 6 5/8 in. (12.38 x 16.83 cm) (image) 7 3/8 x 10 5/8 in. (18.73 x 26.99 cm) (sheet)",,"North America",,,"late 19th century","Not on View","19th century","","","","","","","From From ""Camera Notes,"" April 1899 (vol. 2, no. 4)","The Miscellaneous Works of Art Purchase Fund","90.111.8.4","Photographer: William D. Murphy","Artist","American","American, c.1860-1935","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "59522","Heap","Mixed media print"," Prints","2 x 2 in. (5.08 x 5.08 cm) (image) 15 x 11 in. (38.1 x 27.94 cm) (sheet)",,"North America","United States",,"20th century","Not on View","20th century","Signature see Signed","on sheet","","","","","From ","The William Hood Dunwoody Fund, by exchange","P.71.126","Artist: A. Vaccino","Artist","American","American","Copyright of the artist%2C artist%27s estate%2C or assignees","Prints and Drawings","In Copyright–Rights-holder(s) Unlocatable","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "60440","Toil","Halftone"," Photographs","5 x 5 13/16 in. (12.7 x 14.76 cm) (image) 7 13/16 x 10 3/4 in. (19.84 x 27.31 cm) (mount)","Photograph","Europe","Germany",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Notes,"" July 1902 (vol. 6, no. 1)","The Miscellaneous Works of Art Purchase Fund","90.111.21.4","Photographer: Albert Fichte","Artist","German","German","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "80682","Spinning","Photogravure"," Photographs","6 x 4 15/16 in. (15.24 x 12.54 cm) (image) 10 5/8 x 7 3/8 in. (26.99 x 18.73 cm) (mount)",,,,,"late 19th century","Not on View","19th century","","","","","a woman in a domestic setting spins yarn","","From From ""Camera Notes,"" October 1898 (vol. 2, no. 2)","The Miscellaneous Works of Art Purchase Fund","90.111.6.2","Photographer: Emilie V. Clarkson","Artist","American","American, 1863 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "118797","Shangalti","Gelatin silver print"," Photographs","24 × 20 in. (60.96 × 50.8 cm) (sheet)","Photograph","Africa","Nigeria",,"1971 (printed later)","Not on View","20th century","","","","","profile view of head of African woman with hair braided and coming out from sides of head","","From ","The Christina N. and Swan J. Turnblad Memorial Fund","2014.73.1","Photographer: J.D. 'Okhai Ojeikere","Artist","Nigerian","Nigerian, 1930 - 2014","%C2%A9J.D. Okhai Ojeikere%2C Courtesy Yossi Milo Gallery%2C New York","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "114010","Rod Carew","Archival pigment print"," Photographs","40 x 30 in. (101.6 x 76.2 cm)",,"North America","United States",,"2012","Not on View","21st century","","","","","seated man wearing Twins jersey","","From ","The Linda and Lawrence Perlman Photography Endowment and gift of funds from the Photography and New Media Affinity Group","2012.89.2.2","Photographer: Katherine Turczan","Artist","American","American, born 1965","Copyright %C2%A9 Katherine Turczan. All rights reserved.","Arts of the Americas","In Copyright–Non-Commercial Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "114009","Joe Mauer","Archival pigment print"," Photographs","40 x 30 in. (101.6 x 76.2 cm)",,"North America","United States",,"2012","Not on View","21st century","","","","","seated man from waist up wearing Twins jersey","","From ","The Linda and Lawrence Perlman Photography Endowment and gift of funds from the Photography and New Media Affinity Group","2012.89.2.1","Photographer: Katherine Turczan","Artist","American","American, born 1965","Copyright %C2%A9 Katherine Turczan. All rights reserved.","Arts of the Americas","In Copyright–Non-Commercial Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "118801","Pineapple","Gelatin silver print"," Photographs","24 × 20 in. (60.96 × 50.8 cm) (sheet)","Photograph","Africa","Nigeria",,"1963","Not on View","20th century","","","","","back of head of African woman with hair divided into squared off sections and tied in strings projecting from head","","From ","The Linda and Lawrence Perlman Photography Endowment","2014.73.3","Photographer: J.D. 'Okhai Ojeikere","Artist","Nigerian","Nigerian, 1930 - 2014","%C2%A9J.D. Okhai Ojeikere%2C Courtesy Yossi Milo Gallery%2C New York","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124744","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 38 (April 1912)","The William Hood Dunwoody Fund","64.34.38","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124557","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 13 (January 1906)","The William Hood Dunwoody Fund","64.34.13","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124748","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 36 (October 1911)","The William Hood Dunwoody Fund","64.34.36","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124724","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 28 (October 1909)","The William Hood Dunwoody Fund","64.34.29","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124746","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 33 (January 1911)","The William Hood Dunwoody Fund","64.34.34","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124547","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 4 (October 1903)","The William Hood Dunwoody Fund","64.34.4","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124733","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 30 (April 1910)","The William Hood Dunwoody Fund","64.34.31","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124558","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 12 (October 1905)","The William Hood Dunwoody Fund","64.34.12","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124750","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 45 (January 1914)","The William Hood Dunwoody Fund","64.34.46","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124614","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)","Magazine","North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" Steichen Supplement (April 1906)","The William Hood Dunwoody Fund","64.34.15","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""124614"",""82795"",""82800""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124723","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 27 (July 1909)","The William Hood Dunwoody Fund","64.34.28","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "136075","Eight-page photo album","Gelatin silver prints mounted on paper"," Photographs; Books","3 3/4 × 4 1/2 × 1/4 in. (9.53 × 11.43 × 0.64 cm)","Photo album",,,,"20th century","Not on View","20th century","","","","","small green paper booklet containing 8 black and white photographs of a boy and a model train set on a table","","From ","Gift of Peter J. Cohen","2020.62.1","","Artist",,,"","Photography and New Media","Copyright Not Evaluated","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124616","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 21 (January 1908)","The William Hood Dunwoody Fund","64.34.22","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124539","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 5 (January 1904)","The William Hood Dunwoody Fund","64.34.5","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124734","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 31 (July 1910)","The William Hood Dunwoody Fund","64.34.32","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124726","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 26 (April 1909)","The William Hood Dunwoody Fund","64.34.27","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124373","Camera Work No. 22","Mixed media"," Photographs","11 1/2 × 8 1/4 × 3/4 in. (29.21 × 20.96 × 1.91 cm)",,"North America","United States",,"April 1908","Not on View","20th century","","","","","journal with gray paper binding and pages of printed text and photogravures","","From ","The William Hood Dunwoody Fund","64.34.23","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""124373"",""124376""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124617","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 20 (October 1907)","The William Hood Dunwoody Fund","64.34.21","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124615","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 11 (July 1905)","The William Hood Dunwoody Fund","64.34.11","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124743","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 40 (October 1912)","The William Hood Dunwoody Fund","64.34.41","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124612","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 9 (January 1905).","The William Hood Dunwoody Fund","64.34.9","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124544","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 2 (April 1903)","The William Hood Dunwoody Fund","64.34.2","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""10712"",""124544""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124749","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 49/50 (June 1917)","The William Hood Dunwoody Fund","64.34.50","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124619","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 23 (July 1908)","The William Hood Dunwoody Fund","64.34.24","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124747","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 37 (January 1912)","The William Hood Dunwoody Fund","64.34.37","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124556","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 15 (July 1906)","The William Hood Dunwoody Fund","64.34.16","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124548","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 3 (July 1903)","The William Hood Dunwoody Fund","64.34.3","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124751","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 48 (October 1916)","The William Hood Dunwoody Fund","64.34.49","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124622","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 16 (October 1906)","The William Hood Dunwoody Fund","64.34.17","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124618","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)","Magazine","North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 19 (July 1907)","The William Hood Dunwoody Fund","64.34.20","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""124618"",""64329""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124727","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 25 (January 1909)","The William Hood Dunwoody Fund","64.34.26","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124550","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 6 (April 1904)","The William Hood Dunwoody Fund","64.34.6","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124551","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 7 (July 1904)","The William Hood Dunwoody Fund","64.34.7","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124736","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 41 (January 1913)","The William Hood Dunwoody Fund","64.34.42","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124732","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 24 (October 1908)","The William Hood Dunwoody Fund","64.34.25","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124621","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 17 (January 1907)","The William Hood Dunwoody Fund","64.34.18","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124555","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 14 (April 1906)","The William Hood Dunwoody Fund","64.34.14","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124613","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 10 (April 1905)","The William Hood Dunwoody Fund","64.34.10","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124620","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 18 (April 1907)","The William Hood Dunwoody Fund","64.34.19","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "124553","Camera Work","Mixed media"," Photographs","5 3/16 x 7 15/16 in. (13.18 x 20.16 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","journal with texts and photogravures bound in gray paper","","From From ""Camera Work"" No. 8 (October 1904)","The William Hood Dunwoody Fund","64.34.8","Editor: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Arts of the Americas","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "32749","Flight","Mixed media"," Books","11 x 8 3/4in. (27.9 x 22.2cm)","Artist's book","North America","United States",,"1998","Not on View","20th century","Signature see Signed","in graphite, on edition page: [K a KLEIN]","","","","","From ","Gift of Harold P. Peterson","B.99.16","Artist: Karen Ann Klein; Author: Kisaka Ryo","Artist","American","American, born 1942","%C2%A9 Karen Ann Klein","Prints and Drawings","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "22132","Minneapolis","Color coupler print"," Photographs","14 11/16 x 14 5/8 in. (37.31 x 37.15 cm) (image) 20 x 16 in. (50.8 x 40.64 cm) (sheet)",,"North America","United States",,"1979","Not on View","20th century","","","","","(tennis court, pole between cloud and airplane)","","From ","Gift of the artist","79.38.2","Photographer: Lawrence J. Merrill","Artist","American","American, born 1948","%C2%A9 Larry Merrill","Photography and New Media","In Copyright","invalid","","",1,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "22300","Untitled","Gelatin silver print, hand-tinted"," Photographs","8 1/4 x 12 1/16 in. (20.96 x 30.64 cm) (image) 9 1/16 x 12 13/16 in. (23.02 x 32.54 cm) (sheet)",,"North America","United States",,"20th century","Not on View","20th century","","","","","Minnesota State Capitol Building, St. Paul","","From ","Gift of Robert Kurtz","80.70.2","","Artist",,,"","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19522","In the New York Central Yards","Photogravure"," Photographs","7 5/8 x 6 1/4 in. (19.37 x 15.88 cm) (image)",,"North America","United States",,"1903","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.14","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19533","E. Gordon Craig","Photogravure (printed 1913)"," Photographs","7 15/16 x 6 5/16 in. (20.16 x 16.03 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.9","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19596","The City Across the River","Photogravure"," Photographs","7 7/8 x 6 5/16 in. (20 x 16.03 cm) (image)",,"North America","United States",,"1910","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 36 (October 1911)","Gift of Julia Marshall","69.133.35.2","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124514"",""19596""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19525","Anatole France","Photogravure (printed 1913)"," Photographs","8 1/8 x 6 5/16 in. (20.64 x 16.03 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.5","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19594","The Landing Place, Villa Carlotta","Photogravure"," Photographs","6 1/4 x 8 1/2 in. (15.88 x 21.59 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 38 (April 1912)","Gift of Julia Marshall","69.133.37.11","Photographer: Karl F. Struss","Artist","American","American, 1886 - 1981","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124523"",""19594""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19541","On the East River, New York","Photogravure"," Photographs","7 7/8 x 6 5/16 in. (20 x 16.03 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 38 (April 1912) ","Gift of Julia Marshall","69.133.37.9","Photographer: Karl F. Struss","Artist","American","American, 1886 - 1981","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124523"",""19541""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19480","Snapshot--From My Window, Berlin","Photogravure"," Photographs","8 5/16 x 6 3/4 in. (21.11 x 17.15 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 20 (October 1907)","Gift of Julia Marshall","69.133.20.8","Photographer: Alfred Stieglitz","Artist","American","American, 1864 - 1946","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124479"",""19480""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19414","Happy Days","Photogravure"," Photographs","7 3/4 x 6 1/8 in. (19.69 x 15.56 cm) (image)",,"North America","United States",,"19th-20th century","Not on View","19th-20th century","","","","","","","From From ""Camera Work"" No. 10 (April 1905)","Gift of Julia Marshall","69.133.10.4","Photographer: Gertrude Käsebier","Artist","American","American, 1852-1934","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124454"",""19414""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19535","Isadora Duncan","Photogravure (printed 1913)"," Photographs","6 9/16 x 8 1/16 in. (16.67 x 20.48 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.2","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19441","Lenore","Photogravure (printed 1907)"," Photographs","7 7/16 x 4 9/16 in. (18.89 x 11.59 cm) (image)",,"North America","United States",,"19th-20th century","Not on View","19th-20th century","","","","","","","From From ""Camera Work"" No. 17 (January 1907)","Gift of Julia Marshall","69.133.17.1","Photographer: Joseph T. Keiley","Artist","American","American, 1869 - 1914","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124480"",""19441""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19530","Cyclamen--Mrs. Philip Lydig","Photogravure (printed 1913)"," Photographs","7 9/16 x 5 15/16 in. (19.21 x 15.08 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" No. 42/43 (April/July 1913)","Gift of Julia Marshall","69.133.41.3","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19434","Profile [Mercedes de Cordobal]","Halftone (printed 1906)"," Photographs","7 15/16 x 6 3/8 in. (20.16 x 16.19 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" Steichen Supplement (April 1906)","Gift of Julia Marshall","69.133.14.13","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124455"",""19434""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "19484","Solitude [F. Holland Day]","Photogravure (printed 1906)"," Photographs","4 3/4 x 6 9/16 in. (12.07 x 16.67 cm) (image)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From From ""Camera Work"" Steichen Supplement (April 1906)","Gift of Julia Marshall","69.133.14.14","Photographer: Edward Steichen","Artist","American (born Luxembourg)","American (born Luxembourg), 1879 - 1973","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""124455"",""19484""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27603","Motor Block Test","Gelatin silver print"," Photographs","7 7/16 x 9 1/4 in. (18.89 x 23.5 cm) (image) 7 7/16 x 10 1/2 in. (18.89 x 26.67 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.10","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27569","Untitled","Gelatin silver print"," Photographs","7 1/2 x 9 1/4 in. (19.05 x 23.5 cm) (image) 7 1/2 x 10 1/2 in. (19.05 x 26.67 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.27","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27620","Road Test Department","Gelatin silver print"," Photographs","7 1/2 x 9 1/4 in. (19.05 x 23.5 cm) (image) 7 1/2 x 10 1/2 in. (19.05 x 26.67 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.12","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27573","Untitled","Gelatin silver print"," Photographs","9 3/16 x 7 1/2 in. (23.34 x 19.05 cm) (image) 10 1/2 x 7 1/2 in. (26.67 x 19.05 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.25","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27568","Untitled","Gelatin silver print"," Photographs","7 7/16 x 9 3/16 in. (18.89 x 23.34 cm) (image) 7 7/16 x 10 1/2 in. (18.89 x 26.67 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.28","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27688","Motor Assembly Department","Gelatin silver print"," Photographs","7 7/16 x 9 1/4 in. (18.89 x 23.5 cm) (image) 7 7/16 x 10 1/2 in. (18.89 x 26.67 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.8","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27710","Motor Assembly Department","Gelatin silver print"," Photographs","7 1/2 x 9 1/4 in. (19.05 x 23.5 cm) (image) 7 1/2 x 10 1/2 in. (19.05 x 26.67 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.7","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "27582","Untitled","Gelatin silver print"," Photographs","7 1/2 x 9 1/4 in. (19.05 x 23.5 cm) (image) 7 1/2 x 10 1/2 in. (19.05 x 26.67 cm) (mount)","Photograph",,,,"c. 1911","Not on View","20th century","","","","","","","From From ""Abbott Motor Company, Detroit"" album","Gift of Steven M. Anderson and An Nguyen","91.30.24","Photographer: Nathan Lazarnick","Artist","American (born Russia)","American (born Russia), 1879-1955","","Photography and New Media","No Copyright–United States","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "25701","Untitled (kitchen doorway, window)","Gelatin silver print"," Photographs","19 13/16 x 15 15/16 in. (50.32 x 40.48 cm) (sheet)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From ","Gift of Mary Ann Wilcox Sands","88.59.36","Photographer: Robert Gene Wilcox","Artist","American","American, 1925 - 1970","%C2%A9 Estate of Robert Gene Wilcox","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "25597","Untitled (man cleaning ironwork)","Gelatin silver print"," Photographs","13 15/16 x 11 in. (35.4 x 27.94 cm) (sheet)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From ","Gift of Mary Ann Wilcox Sands","88.59.77","Photographer: Robert Gene Wilcox","Artist","American","American, 1925 - 1970","%C2%A9 Estate of Robert Gene Wilcox","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,, "25628","Untitled (grass, barbed wire)","Gelatin silver print"," Photographs","13 7/8 x 11 in. (35.24 x 27.94 cm) (sheet)",,"North America","United States",,"20th century","Not on View","20th century","","","","","","","From ","Gift of Mary Ann Wilcox Sands","88.59.89","Photographer: Robert Gene Wilcox","Artist","American","American, 1925 - 1970","%C2%A9 Estate of Robert Gene Wilcox","Photography and New Media","In Copyright–Educational Use","invalid","","",0,"1",0,,,"[""""]","media",0.017770613,,,,,,,,,,,,,,,,,,,,,,,