The Frye Art Museum continues to strategically build its collection through purchases and gifts, both deepening existing areas of strength and diversifying holdings to reflect the Museum’s expansive curatorial program and Seattle’s globalized present. Acquisitions of the last five years demonstrate the Museum’s commitment to growing and contextualizing its distinctive historical collections of late nineteenth- and twentieth-century European and American art while broadening its holdings of contemporary works to embrace previously underrepresented identities, perspectives, and forms of expression. To some extent, acquisitions mirror the Museum’s exhibition history, creating a material record of the institution’s engagement with local, national, and international artists and commemorating the special audience connection formed through temporary presentations. Contemporary artworks chosen for the collection often respond to or complicate the narratives around mediums and genres traditionally associated with the Frye, like painting, landscape, and portraiture.
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Title | Artist | Medium | Date |
Feast | Webb, Dan | Carved fir | 2006 |
Pickle Jar with Elephants, Bow and Mottled Grey Balls | Mitchell, Jeffry | Glazed earthenware | 2008 |
Fu Dogs | Mitchell, Jeffry | Earthenware with luster glaze | 2005 |
Study for 2x4 with yellow fill | Livingston, Margie | Acrylic with steel wall mount/shelf | 2011 |
We are the Gentle Angry Women and We Are Singing for Our Lives | Lesperance, Ellen | Gouache and graphite on tea-stained paper | 2015 |
Solid Citizen | Jackson Hutchins, Jessica | Glazed ceramic | 2008 |
Sister Totem | Dingus, Marita | Ceramic and mixed media | 2023 |
Venus Jar 4: My Mothers | O’Leary, Hanako | Clay | 2020 |
Gingko biloba | Bennett, Gretchen Frances | Color pencil on paper | 2023 |
The Edith Wharton you can afford | Cerny, Dawn | Wood, plaster tape, textiles, found ephemera from studio of Nancy Shaver, Apoxie Sculpt, paint | 2021 |
Covid March (after unemployment, the park, then home) | Cerny, Dawn | Wood, drawings, textiles, clipboard, Apoxie Sculpt, polymer clay, paint, found ephemera from studio of Nancy Shaver | 2021 |
Frye | Tracy and the Plastics | Performance and video, sound, color | 2006/2014 |
Trefoil Looking Glass | ESTAR(SER), with special acknowledgment to the Committee on Vitreous Phenomena (Justin Ginsberg and Anna Riley) | Glass, with custom made iron and wood stand | n.d. |
Baby | Ball, Natalie | Cotton cloth, twine, clay, leather, metal jingles, deer legs, and shoes | 2018 |
Single Cabinet | Magor, Liz | Polymerized gypsum, cans of beer | 2001 |
Breathless #6 | Jones, Jennie C. | Audio tape from the 1992 Kenny-G recording “Breathless”, under plexiglass | 2008 |
Silent Clusterfuck (Pyrite –fake gold) | Jones, Jennie C. | Earbuds and acrylic | 2008 |
untitled | Koťátková, Eva | Mixed media collage | 2011 |
untitled | Koťátková, Eva | Mixed media collage | 2011 |
untitled | Koťátková, Eva | Mixed media collage | 2011 |
Becoming Mineral | Tossin, Clarissa | Porcelain | 2021 |
Rising Temperature Casualty (Prunus persica, home garden, Los Angeles) | Tossin, Clarissa | Silicone, black pigment, tree bark | 2022 |
The Unknown | Quaicoe, Otis Kwame Kye | Oil on canvas | 2020 |
Stylite Altarpiece | Seifu, Eden | Acrylic on canvas | 2022 |
Black Face with Wide Chest | Self, Tschabalala | Colored pencil, acrylic paint, gouache, charcoal, graphite on archival inkjet print | 2021 |
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