Pivotal Highlights from the Collection
Transcript of Pivotal Highlights from the Collection
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Pivotal Highlights from the Collection
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Abstraction/Perception
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Richard Diebenkorn, Ocean Park #36, 1970
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Helen Lundeberg, Sloping Horizon, 1960
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Josef Albers, Homage to the Square, Dry Season, 1967
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Frederick Hammersley, Come, 1963
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Billy Al Bengston, Tom, 1968
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Patrick Wilson, Insomniac, 2010
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Uta Barth, Ground #33, Ground #30, Ground #51, 1994-1995
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Aaron Siskind, Homage to Franz Kline (Rome #6), 1973
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Sol LeWitt, Incomplete Open Cube (8-18), 1974
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John McCracken, Nine Planks I, 1974
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John McCracken, Black Resin Painting I, 1974
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Joel Morrison, Odium, Black, 2004.
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Miriam Schapiro, Arbor, 1967
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Larry Bell, Untitled, 1965
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Mary Corse, Light Painting Grid Series, 1970
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Carl Andre, Concrete Uncarved Blocks,1976
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Craig Kauffman, Untitled, 1968
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Robert Irwin, Untitled (#2220), 1969
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The Constructed World
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Nathan Oliveira, Italian Sentinel, 1959
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Bruce Conner, Bedroom, 1959
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Betye Saar, Miz Hannah's Secret, 1975
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Edward Kienholz and Nancy Reddin Kienholz,
End of the Bucket of Tar with Speaker Trail No. 2, 1973
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Joe Goode, One Year Old, 1961
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Tim Hawkinson, Concentric Circle: 705 Year-Old Tree Drawing, 1989
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Charles Ray, Self-Portrait, 1990
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Charles Gaines, Numbers And Trees X #4, Red Violet January, 1991
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Walead Beshty, Island Flora #4 (Rte. 110 and Rte. 10 Interchange), Island Flora #6
(Rte. 101 South Bound), and Island Flora #9 (Rte. 5 and Newhall Interchange)
from the series "Terra Incognita," 2005
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Bryce Bischoff, #16 from Glassell Park series, 2012
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Ed Ruscha, Pine Setting, 1988
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Jennifer Steinkamp, Moth 5, 2012
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Jack Goldstein, Untitled, 1984
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Andy Warhol, Electric Chair, 1970
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Sean Duffy, Horizontal Mobile II, 2004
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Sean Duffy, Double-Wide Sofa, 2001
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Kori Newkirk, Hutch, 2004
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Charlie White, Ken's Basement, from the series "Understanding Joshua", 2000
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The Power of the Artistic Gesture
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John Baldessari, Ordered Thought (Silver and Gold), 1986
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Ken Price, New Mexico, 1983
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Kristen Morgin, Cello #6, 2001
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Amanda Ross-Ho, New Seizure 2, 2008
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Amy Sillman, Untitled, 2009
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Rodney McMillian, Untitled, 2006-8
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Nathan Mabry, Shapeshift (Jaguar), 2015
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Eleanor Antin, 100 Boots, 1973
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Barbara Kruger, Untitled, 1989.
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Glenn Ligon, Prisoner of Love #4, 1992
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Catherine Opie, Bo from the series "Being and Having" 1991
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Allan Sekula, Dockers Loading Sugar Ship, Calais
from the series "Deep Six, or Social Work Seen from a Ferry“, 1996
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Sam Durant, History Prepares the Future, Great Sioux Nation, 2013
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Edgar Arceneaux, Blind Pig #1, 2010
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Margaret Honda, Sparrow Trap, 1991
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Sterling Ruby, Monument Stalagmite/Fait Accompli, 2006
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Monique Prieto, Miasma, 1999
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Mary Weatherford, Second Riddle, 1991
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Mary Heilmann, Surfing on Acid, 2005
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Laura Owens, Untitled, 1994
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Chris Burden, Large Glass Ship, 1983
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Dave Muller, One More Time, 2008
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Mindy Shapero, Mosaic Drawing: White, 2007-8
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Videos
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Nam June Paik, Global Groove, 1973
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Bill Viola, The Reflecting Pool - Collected Work 1977-1980
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Paul McCarthy, Black and White Tapes, 1975
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Glenn Kaino, Linking Rings, 2011
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Koki Tanaka, Someone's junk is someone else's treasure, 2011
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Francis Alÿs, El Gringo from Point of View: An Anthology of the Moving Image, 2003
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Key Points
• OCMA has always championed artistic experimentation and innovation through a commitment to
showing and collecting the work of dynamic and groundbreaking artists, often at pivotal moments in
their careers. This installation also reflects on the significant impact of these key works in the museum’s
collecting and exhibition history.
• Abstraction/Perception The works on view in these galleries span decades, media and artistic
movements, however all are concerned with significant questions around abstraction and perception.
By the mid/late 20th century broad questions about the nature of perception became a primary concern
for artists, who moved away from representation and towards abstraction and innovative uses of
materials in order to focus on the viewer’s experience and relationships between an embodied viewer
and the art object.
• Power of The Artistic Gesture The diverse media and forms in this section demonstrate a range of
approaches artists have taken to experiment with materials in conceptually pointed ways that call into
question the power of the art object and the authority of the artist. Some of these artists consider art as
means to challenge ideas about power in society—explicitly engaging social and cultural issues such as
race, gender or labor practices.
• The Constructed World The artists in this section of the installation all explore the idea that the world
we live is a construct. Whether drawing together appropriating found objects from the world in
assemblage work, or toying with the ideas of originality and fact, they all present dynamic works in a
broad range of materials that lend a critical eye to the physical world in which we live.