Download - Pivotal Highlights from the Collection
Pivotal Highlights from the Collection
Abstraction/Perception
Richard Diebenkorn, Ocean Park #36, 1970
Helen Lundeberg, Sloping Horizon, 1960
Josef Albers, Homage to the Square, Dry Season, 1967
Frederick Hammersley, Come, 1963
Billy Al Bengston, Tom, 1968
Patrick Wilson, Insomniac, 2010
Uta Barth, Ground #33, Ground #30, Ground #51, 1994-1995
Aaron Siskind, Homage to Franz Kline (Rome #6), 1973
Sol LeWitt, Incomplete Open Cube (8-18), 1974
John McCracken, Nine Planks I, 1974
John McCracken, Black Resin Painting I, 1974
Joel Morrison, Odium, Black, 2004.
Miriam Schapiro, Arbor, 1967
Larry Bell, Untitled, 1965
Mary Corse, Light Painting Grid Series, 1970
Carl Andre, Concrete Uncarved Blocks,1976
Craig Kauffman, Untitled, 1968
Robert Irwin, Untitled (#2220), 1969
The Constructed World
Nathan Oliveira, Italian Sentinel, 1959
Bruce Conner, Bedroom, 1959
Betye Saar, Miz Hannah's Secret, 1975
Edward Kienholz and Nancy Reddin Kienholz,
End of the Bucket of Tar with Speaker Trail No. 2, 1973
Joe Goode, One Year Old, 1961
Tim Hawkinson, Concentric Circle: 705 Year-Old Tree Drawing, 1989
Charles Ray, Self-Portrait, 1990
Charles Gaines, Numbers And Trees X #4, Red Violet January, 1991
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
Bryce Bischoff, #16 from Glassell Park series, 2012
Ed Ruscha, Pine Setting, 1988
Jennifer Steinkamp, Moth 5, 2012
Jack Goldstein, Untitled, 1984
Andy Warhol, Electric Chair, 1970
Sean Duffy, Horizontal Mobile II, 2004
Sean Duffy, Double-Wide Sofa, 2001
Kori Newkirk, Hutch, 2004
Charlie White, Ken's Basement, from the series "Understanding Joshua", 2000
The Power of the Artistic Gesture
John Baldessari, Ordered Thought (Silver and Gold), 1986
Ken Price, New Mexico, 1983
Kristen Morgin, Cello #6, 2001
Amanda Ross-Ho, New Seizure 2, 2008
Amy Sillman, Untitled, 2009
Rodney McMillian, Untitled, 2006-8
Nathan Mabry, Shapeshift (Jaguar), 2015
Eleanor Antin, 100 Boots, 1973
Barbara Kruger, Untitled, 1989.
Glenn Ligon, Prisoner of Love #4, 1992
Catherine Opie, Bo from the series "Being and Having" 1991
Allan Sekula, Dockers Loading Sugar Ship, Calais
from the series "Deep Six, or Social Work Seen from a Ferry“, 1996
Sam Durant, History Prepares the Future, Great Sioux Nation, 2013
Edgar Arceneaux, Blind Pig #1, 2010
Margaret Honda, Sparrow Trap, 1991
Sterling Ruby, Monument Stalagmite/Fait Accompli, 2006
Monique Prieto, Miasma, 1999
Mary Weatherford, Second Riddle, 1991
Mary Heilmann, Surfing on Acid, 2005
Laura Owens, Untitled, 1994
Chris Burden, Large Glass Ship, 1983
Dave Muller, One More Time, 2008
Mindy Shapero, Mosaic Drawing: White, 2007-8
Videos
Nam June Paik, Global Groove, 1973
Bill Viola, The Reflecting Pool - Collected Work 1977-1980
Paul McCarthy, Black and White Tapes, 1975
Glenn Kaino, Linking Rings, 2011
Koki Tanaka, Someone's junk is someone else's treasure, 2011
Francis Alÿs, El Gringo from Point of View: An Anthology of the Moving Image, 2003
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.