Object Label Copy Gallery L3 Pop Art - Nelson Nelson-Atkins Museum of Art Object Label Copy...

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  • The Nelson-Atkins Museum of Art

    Object Label Copy Galleries L3 & L4 February, 2012

    p. 1

    Object Label Copy Gallery L3 Pop Art

    Marilyn Levine Canadian, 19332005 Sand Backpack, 1974 Stoneware Take another look. This object is not what it seems. Marilyn Levine has sculpted, in stoneware clay, a hyper-realistic semblance of a worn leather backpack. Resting on a pedestal in the gallery, it is easily

    mistaken for the real thing. Levine is best known for her convincing sculptures of shoes, battered luggage, gloves, handbags, golf bags and leather jackets hung from hooks. Sand Backpack and works like it date from the 1970s and are characterized as California Funk. But Levines intent was serious. She understood that these old things were metaphors for life, for elapsed time and for all that had happened along the way. In this metaphoric sense, her sculptures are evidence of a persons existence. Gift of the Friends of Art, F75-11

    Tom Wesselmann American, b. 1931 Still Life No. 24, 1962 Acrylic polymer on board, fabric curtain

    Pop artist Tom Wesselmann's Still Life No. 24 affirms the American dream and the prosperity of the 1960s middle class. The variety, size and quantity of the fresh, canned and packaged convenience foods

    give evidence of agricultural abundance, factory productivity, and a thriving consumer economy. Television, with its myriad product advertisements, became a central force of cultural change.

    Still Life No. 24 is an assemblage composed of two-dimensional imagery and three-dimensional objects. Wesselmann cut images of foodstuffs and kitchen items from subway posters and other large advertisements. The plastic ear of corn is an advertising prop, acquired by the artist from a vendor on Coney Island who sold corn on the cob.

    The blue curtain is of the type pictured in magazines such as Ladies' Home Journal, which promoted interior design to the middle class. Through the window, a sailboat glides along, further suggesting the good life of the American dream.

    Gift of the Guild of the Friends of Art F66-54


  • The Nelson-Atkins Museum of Art

    Object Label Copy Galleries L3 & L4 February, 2012

    p. 2

    Wayne Thiebaud American, b. 1920 Jawbreaker Machine, 1963 Oil on canvas Wayne Thiebauds Jawbreaker Machine is a frontal, iconic image. His distinctive still life paintings of pinball machines, toys and foodstuffs such as pies, cakes, sundaes and sandwiches, are inspired by childhood memories spent on the boardwalk in Long Beach,

    California. In Jawbreaker Machine the subject rests upon a stark white ground, inviting us to concentrate on the sumptuous handling of paint and the objects simplified form and intensified color. Here, even the shadows are colored and the contours of the candies are outlined in contrasting colors. Thiebaud charges this otherwise ordinary subject with dynamic visual energy. Gift of Mr. and Mrs. Jack Glenn through the Friends of Art, F65-46

    Robert Rauschenberg American, 1925-2008 Tracer, 1963 Oil and silkscreen on canvas Tracer is one of the 79 silkscreened paintings Robert Rauschenberg produced between 1963 and 1964, whose imagery is derived from everyday information- photographs, newspapers and magazines. Tracer alludes to the Vietnam War by incorporating American symbols of war and patriotism-army helicopters and a bald eagle. It also juxtaposes an urban street scene and a reproduction of Peter Paul Rubens Venus at Her Toilet (ca. 1613-15),

    a classic image of beauty and love. Rauschenberg presents modern culture bombarded by conflicting images, signs and information. Rauschenberg is considered a pivotal figure in the transition from Abstract Expressionism to Pop Art. He unites the disparate imagery of Pop with the bold brushwork of Abstract Expressionism. Purchase: Nelson Gallery Foundation, F84-70

    John Chamberlain American, 1927 - 2011 Huzzy, 1961 Steel, paint, and chromium plating with fabric John Chamberlain was one of the first artists to successfully translate the sensibilities of American Abstract Expressionist painting into sculpture. In an almost painterly fashion, Chamberlain bends, crushes, arranges and then welds together discarded parts from wrecked automobiles, transforming the rawness


  • The Nelson-Atkins Museum of Art

    Object Label Copy Galleries L3 & L4 February, 2012

    p. 3

    of found materials into compositions of fluidity and grace. In Huzzy, Chamberlain creates a gestural energy through curved planes, intersecting angles and the incorporation of color. He adds variation in texture and subtle commentary through the incorporation of real female undergarments. The use of clothing and automobile parts links Chamberlains art to popular culture. Gift of Mrs. Charles F. Buckwalter in memory of Charles F. Buckwalter, F64-8

    Andy Warhol American, 1928-1987 Baseball, 1962 Silkscreen and oil on canvas Andy Warhol is a paragon of American Pop Art of the 1960s. Like other artists associated with Pop, he borrowed images from popular culture in defiance of traditional sources for fine art. Cultural icons such as Marilyn Monroe and Campbells soup cans are featured in Warhols silkscreen paintings. By using silkscreen, a technique used in mass production,

    Warhol further denied the notion of art as a unique object bearing the mark of an individual, artistic personality. Baseball was the first photo-silkscreened painting by Warhol. It celebrates the American institution of baseball and incorporates a news photograph of New York Yankee Roger Maris. Maris became famous in 1961 after he broke Babe Ruths home run record. Gift of the Guild of the Friends of Art, and other friends of the Museum, F63-16

    Richard Estes American, born 1932 Bus Window, 19681973 Oil on masonite Richard Estes crops the image of an ordinary city bus to focus our attention on the windshield and its reflections. Distorted by the windows curve, mirrored images of buildings and street signs are rendered meticulously. The glass reveals little of the bus interior. Instead, it reflects the viewers surroundings. Estes, a photorealist artist, fuses information from multiple photographs to construct images that draw us in, like visual

    puzzles. Bequest of Estelle S. Ellis, 2005.10.4


  • The Nelson-Atkins Museum of Art

    Object Label Copy Galleries L3 & L4 February, 2012

    p. 4

    David Hockney English, b. 1937 Invented Man Revealing Still Life, 1975 Oil on canvas

    Invented Man Revealing Still Life expresses the playful dualities-abstraction and realism, flatness and depth, that characterize much of David Hockney's art. His imaginary man, composed of the abstract forms of a blocky torso and stick-like legs, raises a curtain to reveal a relatively realistic vase of flowers. Hockney overturns the laws of perspective by

    placing the two-dimensional, flat figure in front of a three-dimensional table that seems to recede toward an imaginary vanishing point. On closer inspection, the back horizontal edge of the table is wider than the front, contradicting the spatial illusion. In Invented Man Revealing Still Life, Hockney's playful manipulation of space and form confirm his commitment to the idea that art should be pleasurable and accessible to everyone.

    Gift of Mr. and Mrs. William L. Evans Jr., 78-35

    Tom Burckhardt American, b. 1964 Double Team Enamel paint on panel Tom Burckhardt's Double Team represents his signature style-an abstract composition of energetic patterns and bright colors interwoven with passages of realism. In the lower register of Double Team, the large square of warm beige doubles as an abstract element and construction material. Burckhardt manipulates scale and spatial relationships, representing diminutive workmen with caps and tool belts, who labor to construct the composition of the work of art in which they are

    depicted. The postmodern Double Team borrows freely from earlier styles-zigzagging lines and stripes from Pattern & Decoration and Op Art, squares of color from Hans Hofmann and the vertical format of Chinese landscape painting. The red calligraphic line recalls Abstract Expressionism except that here the stylized gesture is a carefully planned, formulaic drip. Purchase: Acquired through t