Paleolithic, 22,000 BCE
Neolithic plastered skull,
from Jericho
ca. 7000 BCE.
Lifesize
Archeological Museum,
Amman, Jordan
Trefoils
Robed male figure, from Mohenjo-daro,
Pakistan, ca. 2600–1900 BCE. Steatite, 6 7/8”
high. National Museum of Pakistan, Karachi.
Figurine of a woman,
From Syros (Cyclades), Greece
ca. 2500-2300 BCE.
Marble, approx. 1’6” high.
National Archaeological Museum, Athens.
Menkaure and Khamerernebty(?),
Gizeh, Egypt, Fourth Dynasty, ca. 2490-2472
BCE. Graywacke, 4’ 6 1/2” high.
Museum of Fine Arts Boston.
Seated statue of Gudea,
2150-2100 BCE.
southern Mesopotamia,
Diorite, H. 17.5”
Dogu
Earthenware
height 10" (25.2 cm)
Jomon period,
c. 2500–1500 BCE
Kurokoma, Yamanashi
Prefecture. / Tokyo
National Museum
Dogu
JOMON
ca.11,000 - 400 BCE
Japanese Dogu
Jomon period,
ca. 2500–1500 BCE
Statuettes of two worshipers, from the Square
Temple at Eshnunna, Iraq. ca. 2700 BCE.
Gypsum inlaid with shell and black limestone,
male figure approx. 2’6” high.
Iraq Museum, Baghdad.
Haniwa warrior, from
Gunma Prefecture, Japan,
Kofun period, fifth to midsixth century. Low-fired clay,
4’3 1/4” high. Tokyo
National Museum, Tokyo.
Army of the First Emperor of Qin
in pits next to his burial mound,
Lintong, China,
Qin dynasty, ca. 210 BCE.
Painted terracotta,
average figure 5’ 10 7/8” high.
Local Hero
Wanxin Zhang
Waiting
Wanxin Zhang
Skateboarder
Wanxin Zhang
View of the West
Wanxin Zhang
Wanxin Zhang
Standing figure,
from Sanxingdui, China,
ca. 1200-1050 BCE.
Bronze,
8’5” high, including base.
China Cultural Relics
Promotional Center, Beijing.
Seated Buddha,
Cave 20, Yungang
Stone
height 45'
Northern Wei dynasty,
c. 460 CE
Datong, Shanxi
Kosho
Kuya Preaching
Painted wood with inlaid eyes
height 46½" (117.5 cm)
Kamakura period, before 1207
Rokuhara Mitsu-ji, Kyoto
Portrait statue of the priest Shunjobo
Chogen, Todaiji, Nara, Japan,
Kamakura period,
early 13th century.
Painted cypress wood,
statue 2’8 3/8”high; detail 1’9”high.
Female Figure (Kore)
c. 650 BCE.
Limestone, height 24 1/2”
Kore from Chios,
c. 520 BCE.
Marble
height 21”
Etruscan
head of Hermes
Terracotta
500 BCE.
Etruscan
Portrait Head
from Delos
ca. 80 BCE.
Bronze, height 12”
Roman Patrician with Busts of His Ancestors,
detail
late first century BCE. Marble, life-size,
Museo Capitolino, Rome
Roman Sculpture, 250 CE
Head of a Roman patrician
from Otricoli, Italy
ca. 75-50 BCE.
Marble
approx. 1’2” high.
Museo Torlonia, Rome.
Portrait bust of a Flavian woman,
Rome, Italy
ca. 90 CE.
Marble
approx. 2’1” high
Museo Capitolino, Rome
Young Flavian Woman, marble, 90 CE, 25” H
Roman Sculpture,
193 CE.
Faustina the Younger, Marble,
147 BCE, 23” H
Which way is she looking?
New technique to show
which way the figure is
looking. This helped to
create a more expressive,
specific look.
Portrait bust of Livia, from Faiyum,
Egypt, early 1st century CE.
Marble,
approx. 1’ 1 1/2” high.
Ny Carlsberg Glyptotek,
Copenhagen.
Portrait of Caracalla,
ca. 211-217 CE.
Marble,
approx. 1’2” high.
Metropolitan Museum of Art,
New York.
Head of Boy, Roman,
250 CE..
Constantine (306-337 CE)
Portrait of Constantine, from the
Basilica Nova, Rome, Italy,
ca. 315-330 CE.
Marble,
approx. 8’6” high.
Palazzo dei Conservatori, Rome.
Portrait of Constantine, from the
Basilica Nova, Rome, Italy,
ca. 315-330 CE.
Marble,
approx. 8’6” high.
Palazzo dei Conservatori, Rome.
Portrait bust of Hadrian as general,
from Tel Shalem, Israel, ca.
130-138 CE.
Bronze,
approx. 2’11” high.
Israel Museum, Jerusalem.
MICHELANGELO BUONARROTI, David, from Piazza della Signoria, Florence, Italy, 1501–
1504. Marble, 17’ high. Galleria dell’Accademia, Florence.
Binocular
13.5x8x8
Flutter
9x5x4.5
Kicki Masthem
Sleepy Head
12.5x7.5x5
Trumpet and Nag
Better a Bird in Hand
9 x 7 x 7.5
personal floating device
8x8x5
Kicki Masthem
Cluck
36" x 24" x 24"
Ceramic
Misty Gamble
Panopticon
36" x 26" x 26"
Misty Gamble
Succulent
21" x 19" x 20"
2007
Christina West
Succulent
Christina West
untitled, 25" tall x 21" wide x 15" deep
Christina West
untitled, 25" tall x 21" wide x 15" deep
Christina West
Christina West
"two boys"
46"x25"x18"
2007
fired clay and glaze
46"x25"x18"
"june in the fall" 2007
fired clay, glaze and luster
size variable
matt wedel
HARIN LEE
HARIN LEE
HARIN LEE
JEFF KOONS, Pink Panther, 1988. Porcelain, 3’ 5” x
1’ 8 1/2” x 1’ 7”. Museum of Contemporary Art,
Chicago (Gerald S. Elliot Collection).
ROBERT ARNESON, California Artist, 1982. Glazed stoneware, 5’ 8
1/4” x 2’ 3 1/2” x 1’ 8 1/4”. San Francisco Museum of Modern Art
(gift of the Modern Art Council). Art © Estate of Robert Arneson/
Licensed by VAGA, New York, NY.
Robert Arneson
Robert Arneson
Robert Arneson
A Robert Arneson self portrait -Benicia Bench (1991), courtesy George
Adams Gallery
Portrait of George (Moscone),
sculpture by Robert Arneson, 1981
(7'-10" x 29")
Jackson Pollock, sculpture by
Robert Arneson, 1983.
Robert Arneson 'Pablo Ruiz with
Itch' 1980, Nelson-Atkins Museum
of Art, Kansas City, Missouri
A huge bust of Lei Feng currently situated under the Mount Taishan in China. In the
front of the stand is a quotation of Chairman Mao,"To Learn from comrade Lei Feng".
Nan Smith
Margaret sculpture3
Nan Smith
A Reliquary
2003
airbrushed and glazed earthenware,
photo decals
Tip Toland
whistlers
Tip Toland
"Dive"
Stoneware Clay, Paint, Chalk Pastels,
19" H x 16"W x 19" D
2007
Tip Toland
Tip Toland
"Painting the Burning Fence"
Stoneware, paint, pastels, synthetic hair
28” H x 19” W x 22” D
2007
Tip Toland
"Pretty Pretty Baby"
Stoneware, paint, pastels, wax, lipstick
40” H x 28” W x 29” D
2007
Tip Toland
Viola Frey
Standing Woman III
2003
Ceramic, glaze
92 x 29 x 21 inches
Viola Frey
Woman with Small World
1999
Viola Frey
Family Portrait, 1995
Ceramic with glazes
84 x 79 x 29 1/2 inches
Collection of the Hirshhorn Museum and
Sculpture Garden, Smithsonian Institution,
Washington, DC, Gift of Rena Bransten, 1996
Joe Kowalczyk
The Bride of Thalidomide
46"H x 25"W
Ceramic, Wood and Moldy Tea
Beth Cavener Strichter
Beast (working shot)
Beth Cavener
Strichter Strange Attraction
Strichter I Am No One
Beth Cavener
Strichter Olympia
Beth Cavener
Strichter Inquisitors
Robbie Conal’s painting of Ronald Reagan is one of the most
recognizable political images of the 1980s. Painted in 1988,
Contra Diction references the Reagan administrations illegal
funding and arming of Nicaragua’s right-wing contras
fighting the leftist Sandinista regime. The painting was turned
into a poster that volunteers plastered on walls across the
country and around the world.
Robert Rauschenberg’s 1964 silkscreen painting, Retroactive 1,
mixes a media-generated image of President Kennedy from a
televised news conference with a parachuting astronaut and
other found objects to create a visual overview of the times and
a memorial for the recently slain leader.
John Singer Sargent’s 1903 painting of Theodore Roosevelt was
the first official portrait of the president. Painted from life in
countless sessions at the White House, the portrait reveals the
intelligence and determination of the “Rough Riding”
statesman.
Andy Warhol reportedly raised more than $40,000
for the Democratic Party with his 1972 satirical
portrait of Richard Nixon with the campaign slogan
“Vote McGovern.” Made to support Democratic
presidential candidate George McGovern, the
silkscreen piece paints Nixon is a bad light —
showing the incumbent leader as a green-faced
monster with a head too big for his body.
Robert Colescott turned the table on issues of race
with his ironic 1975 painting George Washington
Carver Crossing the Delaware. Based on Emanuel
Gottlieb Leutze’s 1851 canvas Washington Crossing
the Delaware, which hangs at the Metropolitan
Museum of Art in New York, Colescott controversial
painting depicts the African American inventor George
Washington Carver leading the charge with an army of
minstrel-like black characters drinking moonshine,
catching catfish, and strumming the banjo—
representing stereotypical, racist views of black
citizens at the time.
British artist Jonathan Yeo was commissioned by the
George W. Bush Presidential Library to paint an official
portrait of the 43rd president in 2007, but when the
invitation was suddenly withdrawn, Yeo went ahead and
made an unofficial portrait of “W” — crafted from
porn. Snipping bits of naked bodies from skin
magazines, Yeo constructed a dark image of the
controversial but steadfast leader. While not technically
a work on canvas, it would make a funny Paint by
Number kit.
David Humphrey’s 2006 painting, Ike Paints From Life,
reference’s Dwight D. Eisenhower love of landscape
painting. The president is seen sitting at his easel with brush
and paint, but the scene goes topsy-turvy from there — as
trees are uprooted, rivers turn oily black, and an observing
clown-faced, rabbit-eared figure drops his trousers.
Strikingly surreal, Humphrey’s canvas portrays a greatly
changed American landscape from the president’s time —
revealing a place Ike most likely would no longer recognize.
Chuck Close’s 2007 portrait of Bill Clinton began
with a photograph that Close made in 2005 for the
cover of New York Magazine. Two years later, the
artist asked the president if it was OK to make a
painting from one of the shots and Clinton approved.
Gridding the surface of the photo, Close mapped out a
plan for transferring the image to canvas and filled
each module with abstract marks that together form an
uncanny likeness of the 42nd president. “Clinton is
very seductive,” Close told a Telegraph reporter in
2007. “When he looks directly into your eyes, he has
an almost laser-beam-like lock-on thing that he does.
He makes you feel like he’s really connected to you.”
Folk artist Rev. Howard Finster painted Abraham Lincoln several
times in his lifetime. This charming version features a young Abraham
rendered in Finster’s simple, signature style with the Biblical scripture
“How beautiful/upon the mountains/ that are the feet of him/ that
bringeth Good Tidings” inscribed on the surface of the painting on
wood and “Purpose of these/ paintings is to/ get the truth to/ people
before the/ end of the world/ the end is pressing/ time now”
prophetically written on the back.
We know that Shepard Fairey’s Hope portrait of
Barack Obama is the most recognizable image of the
president, but it’s so ingrained in our minds we don’t
even have to see it to remember it. Kurt Kauper’s
portrait of the president is full of hope yet strange in
the way it depicts Obama waving from a serene suburb.
Part of a pair of paintings that Kauper made of the
president and first lady (she’s waving in a suburban
parking lot) after the election, the pieces were only
works on view in Kauper’s 2009 solo show at New
York celebrated Deitch Projects.