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Portfolios%20%3D%20%223439%22%20and%20Century%20%3D%20%222018%22
Baby
Natalie Ball, (Portland, OR, 1980 – )
Ball, Natalie
American
1980
20 x 12 x 17 in. (50.8 x 30.48 x 43.18 cm)
Cotton cloth, twine, clay, leather, metal jingles, deer legs, and shoes
Cotton cloth, twine, clay, leather, metal jingles, deer legs, and shoes
2018
2018
2018
2023.006.07
item
Frye Art Museum
10/11/2023
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http://127.0.0.1:5000/media/images/2023.006.07_Fang.jpg
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http://127.0.0.1:5000/media/images/2023.006.07_Fang.tif
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http://127.0.0.1:5000/media/images/2023.006.07_Fang_Low-Res.jpg
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http://127.0.0.1:5000/media/images/2023_Ball_Certof_Authenticity.pdf
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http://127.0.0.1:5000/media/images/2023_Ball_DeedofGift.pdf
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http://127.0.0.1:5000/media/images/2023_Ball_IncomingReciept.pdf
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http://127.0.0.1:5000/media/images/2023_Board_Resolutoin.pdf
3-D Object
Dress for Success
Rose Nestler, (Spokane, WA, 1983 - )
Nestler, Rose
American
1983
Female
Artist
24 x 18 x 5 in. (60.96 x 45.72 x 12.7 cm)
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Object
Leather, thread, batting, grommets, hooks
Leather, thread, batting, grommets, hooks
2018
2018
2018
3-D Object
Brooklyn-based artist Rose Nestler describes her sculptures as having an “alert softness” that reflects the tension between the exterior and the interior self. <i>Dress for Success</i> realizes this duality by pairing its armored facade of conical breasts with its soft, deflated form. The sculpture is part of Nestler’s <i>Power Suit</i> series. In this ongoing body of work, she reinterprets iconic items of clothing that were originally designed to conceal, shield, or enhance women's bodies. The term “power suit” refers to the wide-shouldered, angularly cut business attire worn by many women during the 1980s in the corporate sector, a space historically dominated by men.
2019.011.01
item
Frye Art Museum
10/7/2019
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http://127.0.0.1:5000/media/images/2019.011.01_Fang_Low-Res.jpg
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http://127.0.0.1:5000/media/images/2019.011.01_Scarborough_Low-Res.jpg
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http://127.0.0.1:5000/media/images/2019_011_01_Nestler_CR001.pdf
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http://127.0.0.1:5000/media/images/2019.011.01_Scarborough.jpg
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http://127.0.0.1:5000/media/images/2019.011.01_Benton_Low-Res.jpg
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http://127.0.0.1:5000/media/images/2019.011.01_Fang.tif
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http://127.0.0.1:5000/media/images/2019.011.01_Fang.jpg
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http://127.0.0.1:5000/media/images/Nestler_Board Resolution_Signed.pdf
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http://127.0.0.1:5000/media/images/Nestler_Incoming Receipt_Dress for Success.pdf
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http://127.0.0.1:5000/media/images/Nestler_Deed of Gift_countersigned.pdf
Mixed media
Untitled (Badlands)
Juventino Aranda, (Walla Walla, WA, 1984 – )
Aranda, Juventino
American
1984
Male
Artist
57 x 77 x 2 in. (144.78 x 195.58 x 5.08 cm)
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Stretcher
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Frame
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Crate-outer of wood
Oil on wool Pendleton blanket
Oil on wool Pendleton blanket
2018
2018
2018
Mixed media
Juventino Aranda created this painting by applying oil stick and paint to a striped Badlands National Park blanket from Pendleton Woolen Mills. The resulting fields of color evoke the paintings of Abstract Expressionist Mark Rothko (1903–1970) but are interrupted by a dripping mass of black paint that references the extraction of oil and other natural resources on national lands.
Pendleton has produced blankets based on Native American designs since the late 1800s. The blankets are often given as gifts and used in ceremonies in tribal communities, but in recent years they have also become expensive commodities trendy among consumers who have little knowledge of the designs’ origins or meanings. After touring one of Pendleton’s factories near his hometown of Walla Walla, Washington, Aranda began making works using the company’s discarded products, highlighting the ongoing appropriation and exploitation of Indigenous culture in American society.
2019.008
item
Frye Art Museum
10/7/2019
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http://127.0.0.1:5000/media/images/2019.008.JPG
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http://127.0.0.1:5000/media/images/2019_008_CR.pdf
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http://127.0.0.1:5000/media/images/Aranda_Deed of Gift_SIGNED.pdf
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http://127.0.0.1:5000/media/images/Aranda_Board Resolution_signed.pdf
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http://127.0.0.1:5000/media/images/2019.008_Low-Res.jpg
Painting
this trembling turf (the shallows)
Mary Ann Peters, (Beaumont, Texas, 1949 – )
Peters, Mary Ann
American
1949
Female
Artist
60 x 48 in. (152.4 x 121.92 cm)
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Stretcher
White ink
White ink
2018
2018
2018
Painting
<i>this trembling turf (the shallows)</i> is part of a series in which Seattle-based artist Mary Ann Peters explores ways of marking the overlooked or hidden evidence of subjugated peoples. Using white ink on black clayboard, the artist created an intricately textured surface composed of spikes and “blips,” as she has called them. The rhythmic pattern references the sound waves used by archaeologists to uncover buried traces of ancient civilizations.
Peters started her <i>this trembling turf</i> series in 2017 following an artist residency in Beirut, where she learned that the lush fairways of a local golf club are thought to overlay a mass grave: in 1982, a militia linked to the right-wing Maronite Christian Phalange party killed hundreds, if not thousands, of Palestinian refugees and Lebanese civilians in two refugee camps in West Beirut. Though created with these specific places and events in mind, Peters’s work is abstracted, opening broader questions she has posed when discussing the series, such as, “Is there a country on the planet that doesn't have the same kind of tormented past?”
2019.005
item
Frye Art Museum
8/13/2019
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http://127.0.0.1:5000/media/images/2019.005.tif
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http://127.0.0.1:5000/media/images/2019.005_Chip on right edge_012323.jpg
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http://127.0.0.1:5000/graphics/blank.gif
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http://127.0.0.1:5000/media/images/2019.005_inpainting_01.31.2023_b.jpg
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http://127.0.0.1:5000/media/images/2019.005_inpainting_01.31.2023_a.jpg
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http://127.0.0.1:5000/media/images/2019.005_inpainting_01,31.2023_c.jpg
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http://127.0.0.1:5000/media/images/2019.005_Chip on right edge_012323_closeup.jpg
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http://127.0.0.1:5000/media/images/Peters_Condition report_181022.pdf
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http://127.0.0.1:5000/media/images/Peters_Purchase Check.pdf
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http://127.0.0.1:5000/media/images/Peters_Invoice.pdf
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http://127.0.0.1:5000/media/images/2019.005.jpg
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http://127.0.0.1:5000/media/images/2019.005_Low-Res.jpg
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http://127.0.0.1:5000/media/images/Peters_FAM Acquisitions from the Seattle Art Fair for Board Approval - UPDATE 20190802.pdf
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http://127.0.0.1:5000/media/images/PAMCAST_Episode_009_transcript.pdf
Mixed media
Snowflake Drawing #5 (Double Lotus Pod)
Jeffry Mitchell, (Seattle, 1958 – )
Mitchell, Jeffry
American
1958
Male
Artist
36 x 24 in. (91.44 x 60.96 cm)
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Sheet
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Frame
Graphite, ink, carbon transfer, and watercolor on paper
Graphite, ink, carbon transfer, and watercolor on paper
2018
2018
2018
Mixed media
2019.004
item
Frye Art Museum
8/13/2019
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http://127.0.0.1:5000/media/images/2019.004_Fang.tif
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http://127.0.0.1:5000/media/images/2019.004_Fang_Low-Res.jpg
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http://127.0.0.1:5000/media/images/Mitchell_Purchase Check.pdf
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http://127.0.0.1:5000/media/images/Mitchell_Invoice.pdf
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http://127.0.0.1:5000/media/images/2019.004_Fang.jpg
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http://127.0.0.1:5000/media/images/2019.004.jpg
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http://127.0.0.1:5000/media/images/2019.004_Low-Res.jpg
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http://127.0.0.1:5000/media/images/Mitchell_FAM Acquisitions from the Seattle Art Fair for Board Approval - UPDATE 20190802.pdf
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http://127.0.0.1:5000/media/images/Mitchell_ Condition report.pdf