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", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2022.008_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2022.008_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2022.008_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2022.008_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "17985", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5001, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5001", "Disp_Access_No" : "2022.007", "_AccNumSort1" : "", "Disp_Create_DT" : "2022", "_Disp_Start_Dat" : "2022", "_Disp_End_Date" : "2022", "Disp_Title" : "After Boucher: Untitled", "Alt_Title" : "", "Obj_Title" : "<i>After Boucher: Untitled</i>", "Series_Title" : "", "Disp_Maker_1" : "Molly Jae Vaughan", "Sort_Artist" : "Vaughan, Molly Jae", "Disp_Dimen" : "34 x 26 in. 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(140.34 x 101.6 x 13.97 cm)", "Disp_Height" : "55 1/4 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "Panel", "Medium" : "Oil on panel, found objects, sound", "Support" : "", "Disp_Medium" : "Oil on panel, found objects, sound", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by Monica and Rick Segal, 2022.006", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Amanda Donnan, April 2022: This portrait is part of a recent body of work by Gisela McDaniel that focuses on diasporic Famaloa''an CHamoru (Chamorro women), the indigenous community from the Marianas Islands in the north-western Pacific. McDaniel''s interest in this region stems from her heritage: she is a person of CHamoru descent from the island of Guahan (Guam), an American territory that has been subject to Western imperialism and colonial whitewashing. Her large-scale mixed media portraits depict Chamorro women and nonbinary people-many of whom are, like McDaniel, survivors of sexual violence-in lush environments that pictorially and symbolically speak to the South Pacific islands region. The two birds in Mangahulo'' I famaguon, for example, are Guam kingfishers, a species that is now extinct in the wild due to the brown tree snake, which was brought to the island by the US military. These birds were featured at the request of the portrait''s subject who grew up in Guam and now lives in Los Angeles: McDaniel interviews and photographs her sitters before painting them, cultivating a familial bond (she refers to her sitters as "Mane''lu," a nonbinary term for "sibling," and in this case, the titular famaguon means "children"). McDaniel and her sitters also participate in an exchange of small, meaningful objects that ultimately become part of the composition. This includes, for example, the loose shells and beads embedded in paint worms on the sitter''s face in Mangahulo'' I famaguon. McDaniel states: "The objects I collect are things that have been previously worn on a body ... I ask subjects to donate anything that they are no longer using, whether an earring that lost its pair or an old dress. These objects carry the spirit of the person that wore them which becomes part of the painting." Mangahulo'' I famaguon is additionally accompanied by an audio element, or "audio portrait," that captures the voice of the sitter. This serves as a multi-sensorial supplement to the static painting that offers the sitters the opportunity to narrate their own histories and experiences of trauma and healing. These multimodal elements and collaborative approaches to making and storytelling all serve to make visible the depth and nuance of McDaniel''s "subject-collaborators." In an essay about this portrait series, curator Jasmine Wahi states: "McDaniel takes an active approach in disrupting the white supremacist, capitalist, patriarchal foundations of Western painting by deliberately amplifying people who have existed on the periphery of Western interest. This act is a means of creating visibility for the historically erased and a simultaneous opposition to the continued encroachment of contemporary colonialism throughout the world." ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2022.006_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2022.006_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2022.006_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2022.006_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "17997", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4999, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4999", "Disp_Access_No" : "2022.005", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "Allegory of the Raging Sun", "Alt_Title" : "", "Obj_Title" : "<i>Allegory of the Raging Sun</i>", "Series_Title" : "", "Disp_Maker_1" : "Kat Lyons", "Sort_Artist" : "Lyons, Kat", "Disp_Dimen" : "47 1/4 x 78 3/4 x 1 1/4 in. (120.02 x 200.03 x 3.18 cm)", "Disp_Height" : "47 1/4 in.", "Disp_Width" : "78 3/4 in.", "Dimen_Extent" : "Canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Fondation Croÿ-Roeulx, 2022.005", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Amanda Donnan, April 2022: Allegory of the Raging Sun is one of a body of thirteen works Lyons created while living on a small diversified livestock farm in rural Sharon, Connecticut. These paintings explore the ritualism of production that occurs on and around the farm, in which both humans and non-humans participate. The ethos of the farm seeks to understand land at a basic ecological level, supporting its natural functions to reduce damage and, in turn, mitigate harm to wildlife and the animals raised for consumption on the farm. Despite these efforts, compromises are ultimately made to maintain commercial viability, and labor becomes a required exchange based on what is valued in an eco-capitalist system. Categories of pet, pest, feral, domestic, wild, predator and prey are made more potent when individual labor value determines survival. Lyons became interested in the intersectionality of these categories with death and the experience of grief, as well as the concealment of these processes in industrialized farming. Allegory of the Raging Sun reflects on Lyons''s impression of a large winter roost of crows-a massing popularly known as a "murder"- in a small town near the farm. For unknown reasons, these gatherings are increasingly occurring in urban areas, where they are perceived as a nuisance by locals and sometimes dispersed (if temporarily) with shotgun blasts, fireworks, and recordings of distressed crows or predator birds. L yons''s depiction looks to the birds'' mythological associations and the ancient practice of augury (or bird divination) to celebrate the crow''s prophetic potential. The practice of augury is long past by most cultural standards, though interpretations of bird behavior continue to serve as compasses or signifiers in our human-world, emphasizing an ever-present connection to the nonhuman realm. Crows have a vibrant symbolic history and are honored for their special intelligence but are today popularly associated with gloominess and death. Harkening back to older narratives, here they deliver a gift of salvation, celebrating in flocks after their council with the Sun. They are transformative messengers, oracles of world-building possibilities, and arbitrators between life and the hereafter. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2022.005_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2022.005_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2022.005_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2022.005_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "17783", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4974, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4974", "Disp_Access_No" : "2022.004", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "Madrone + Mullan", "Alt_Title" : "", "Obj_Title" : "<i>Madrone + Mullan</i>", "Series_Title" : "", "Disp_Maker_1" : "Sadie Wechsler", "Sort_Artist" : "Wechsler, Sadie", "Disp_Dimen" : "44 1/4 x 55 1/4 x 1 1/2 in. 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Todd Armstrong and Todd Rosin, 2022.004", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2022.004_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2022.004_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2022.004_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2022.004_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "17994", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4973, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4973", "Disp_Access_No" : "2022.003", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "Free me from this body, my voice can carry only so far. Free me from this body, as I lay on the grass it feels heavy and I can't move. Free me from this body, the color burns brown with dark limbs so tired and missing the weightless breadth of above", "Alt_Title" : "", "Obj_Title" : "<i>Free me from this body, my voice can carry only so far. Free me from this body, as I lay on the grass it feels heavy and I can't move. Free me from this body, the color burns brown with dark limbs so tired and missing the weightless breadth of above</i>", "Series_Title" : "", "Disp_Maker_1" : "Sky Hopinka", "Sort_Artist" : "Hopinka, Sky", "Disp_Dimen" : "17 5/16 x 17 1/2 in. 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(80.65 x 57.15 x 4.45 cm)", "Disp_Height" : "31 3/4 in.", "Disp_Width" : "22 1/2 in.", "Dimen_Extent" : "Frame", "Medium" : "Chromogenic crystallograph in aluminum artist''s frame", "Support" : "", "Disp_Medium" : "Chromogenic crystallograph in aluminum artist's frame", "Info_Page_Comm" : "", "Dedication" : "Museum Purchase, 2022.002", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "Unique print", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2022.002_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2022.002_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2022.002_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2022.002_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "16697", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4971, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4971", "Disp_Access_No" : "2022.001", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "Butterfly", "Alt_Title" : "", "Obj_Title" : "<i>Butterfly</i>", "Series_Title" : "", "Disp_Maker_1" : "Bony Ramirez", "Sort_Artist" : "Ramirez, Bony", "Disp_Dimen" : "72 x 48 x 1 1/2 in. (182.88 x 121.92 x 3.81 cm)", "Disp_Height" : "72 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "Panel", "Medium" : "Acrylic, soft oil pastel, color pencil, wallpaper, metal chain, dried coconuts", "Support" : "Bristol paper on panel", "Disp_Medium" : "Acrylic, soft oil pastel, color pencil, wallpaper, metal chain, dried coconuts on Bristol paper on panel", "Info_Page_Comm" : "", "Dedication" : "Gift of the Kulick Family Foundation, 2022.001", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2022.001_Lasagni_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2022.001_Lasagni_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2022.001_Lasagni_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2022.001_Lasagni_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "16011", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4908, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4908", "Disp_Access_No" : "2021.001", "_AccNumSort1" : "", "Disp_Create_DT" : "2007", "_Disp_Start_Dat" : "2007", "_Disp_End_Date" : "2007", "Disp_Title" : "Portrait of Erwin Wurm", "Alt_Title" : "", "Obj_Title" : "<i>Portrait of Erwin Wurm</i>", "Series_Title" : "", "Disp_Maker_1" : "Joseph Park", "Sort_Artist" : "Park, Joseph", "Disp_Dimen" : "24 x 18 x 1 in. (60.96 x 45.72 x 2.54 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "Panel", "Medium" : "Oil on panel", "Support" : "", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Gift of Troy Davis, 2021.001", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2021.001_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2021.001_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2021.001_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2021.001_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "18881", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4830, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4830", "Disp_Access_No" : "2020.002", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Trap", "Alt_Title" : "", "Obj_Title" : "<i>Trap</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "9 x 33 x 24 in. (22.86 x 83.82 x 60.96 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "33 in.", "Dimen_Extent" : "Object", "Medium" : "Powder-coated trap, mirror, gypsum board, plywood, steel wall studs", "Support" : "", "Disp_Medium" : "Powder-coated trap, mirror, gypsum board, plywood, steel wall studs", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Contemporary Council, 2020.002", "Copyright_Type" : "", "Disp_Obj_Type" : "3-D Object", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "<span style="font-size:10pt">1/18/22 - This piece was in an exhibition "Becoming American" by Celfalonia, August 4 - September 30, 2018" An article about this exhibition can be found in the object record.<br/><br/>************<br/><br/>3/19/21 removed "Canadian" from the artist nationality, per the preference of the artist.<br/><br/>****************<br/>From the Acquisition Proposal, Summer 2020: In the fall of 2021, Linklater will be the subject of a survey exhibition at Frye Art Museum, organized by Chief Curator Amanda Donnan. Centering on notions of translation, migration, and occupation in relation to dominant systems of knowledge and value, the exhibition will unfold the artist’s persistent decolonial interrogation of “soft power” mechanisms of cultural memory. The museum is key among these, but Linklater’s intervention in other representational formations like the dictionary, encyclopedia, and popular media figure prominently as well. The exhibition will underscore the ways in which the artist has used common materials, conceptual gestures, and a lo-fi or “unmonumental” aesthetic to assert endurance and agency contra processes of (personal, cultural, informational) loss, opening exclusionary structures to Indigenous forms and ideas.<br/><br/>The proposed acquisition, <span style="font-style:italic">Trap</span> (2016), is slated for inclusion in the survey and encapsulates many of the themes key to the exhibition and to Linklater’s practice. The seemingly provisional sculptural assemblage brings together a tool for hunting—an activity connected to Indigenous sovereignty, cultural identity, and family traditions as well as the history of colonial contact/exchange—with building materials that reference the (dismantled) gallery walls and, by extension, institutional power structures. The raw materials of steel, wood, and gypsum are also directly associated with resource extraction in Canada, which has been a contentious issue vis a vis Indigenous land rights.<br/><br/><span style="font-style:italic">Trap</span> was first exhibited in <span style="font-style:italic">A Parallel Excavation: Duane Linklater and Tanya Lukin Linklater</span> at the Art Gallery of Alberta in 2016, which “explore[d] the complicated relationship between Indigenous peoples and institutions, and more specifically, the role of Indigenous art in the destabilization of institutional discourses through the implied physical breakdown of barriers.” Linklater’s works in the exhibition incorporated gypsum board (i.e. drywall), wood, and metal studs in various ways, dismantling and refiguring the gallery wall as a symbol of constructed settler space, the interface between institution/ideology and the public, and exclusionary practices. He has subsequently incorporated these materials in a number of works and installations, including <span style="font-style:italic">What then remainz </span>(2016/2021) a continually reconstructed piece that involves removing the drywall from a permanent gallery wall to expose the internal structure. The existing studs are replaced with new framing elements that have been painted red and powder-coated to spell out the work’s title: a reference to a judgment written by US Supreme Court Justice Sonia Sotomayor on the sovereignty of native peoples. Reenacting the erasure it alludes to while also functioning as a gesture of reoccupation and durability, this materialized phrase is drywalled over at the close of the exhibition but continues to live on within the institution. A new version of this piece will be installed at the Frye for Linklater’s exhibition.<br/><br/>In <span style="font-style:italic">Trap</span>, the artist converts the elemental museum/gallery architecture into a platform for Indigenous content: an animal trap like those he and his family members have long used for subsistence gathering. The act of hunting is fundamental to First Nations history and identity yet is deeply fraught with the debate over the current legal status of ancestral ways of living, much of which hinges on the interpretation of treaty provisions pertaining to the sustenance of a “moderate livelihood.” This is the subject of the film <span style="font-style:italic">Modest Livelihood</span> (2012) which Linklater made with fellow First Nations artist Brian Jungen and plans to adapt to multichannel installation for his survey. Another featured group of the artist’s works feature animal pelts on garment racks, alluding again to colonial trade, commercial resource extraction, and, by way of titles like <span style="font-style:italic">My Brother in Law, My Sister</span>, to familial relationships and questions of (human and nonhuman) selfhood and kinship.<br/> <br/>The trap included in the proposed sculpture is powered coated in an off white, or “bone white” as the artist refers to it, which simultaneously preserves the device by preventing rust, but also renders it inoperable. This points back to practices of collecting and displaying Indigenous historical artworks, which were made for cultural use but are alienated from their functional context in museum storerooms and vitrines. Placed on a mirror, which reflects the faces of those who behold it, and positioned on the gallery floor, the trap is “set” for the viewer, or is it for the artist? Indigenous people?<br/><br/><span style="font-style:italic">Exhibition History:</span><br/><span style="font-style:italic">A Parallel Excavation</span>, Art Gallery of Alberta, 2016 (reproduced in catalogue)<br/><span style="font-style:italic">Becoming American</span>, English Camp, San Juan Island, WA, 2018<br/><br/><span style="font-style:italic">Complements the collection / why recommended:<br/></span>This work was chosen for purchase with funds provided by the Museum’s Contemporary Council, in recognition of the artist’s important place within national contemporary discourse and the special local audience connection that will be formed through the forthcoming survey exhibition, programs, and publication. The purchase is timely, both in relation to the artist’s own upward trajectory (his work has recently been acquired by institutions including the San Francisco Museum of Modern Art and the Art Gallery of Ontario, among others) and to the ongoing national reckoning with the marginalization of BIPOC voices in cultural spaces and American society at large. The acquisition thus furthers the Frye’s mission of showcasing/supporting artists who are exploring the pressing issues of our time and of diversifying the collection to create an environment in which multiple identities, perspectives, and forms of expression are shared and valued. Relatively small but highly impactful, <span style="font-style:italic">Trap</span> expands our limited holdings of sculptural works while suggesting connections to pieces ranging from recent contemporary acquisitions like Juventino Aranda’s <span style="font-style:italic">untitled (badlands)</span> to historical hunting scenes in the Founding Collection.</span>", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2020.002_Massey_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2020.002_Massey_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2020.002_Massey_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2020.002_Massey_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "13998", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4627, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4627", "Disp_Access_No" : "2020.001", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Lot 248 (still)", "Alt_Title" : "", "Obj_Title" : "<i>Lot 248 (still)</i>", "Series_Title" : "", "Disp_Maker_1" : "Amie Siegel", "Sort_Artist" : "Siegel, Amie", "Disp_Dimen" : "12 x 22 3/4 in. (30.48 x 57.79 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "22 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Cibachrome print", "Support" : "", "Disp_Medium" : "Cibachrome print", "Info_Page_Comm" : "", "Dedication" : "Gift of the artist, 2020.001", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2020.001_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2020.001_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2020.001_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2020.001_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4618, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4618", "Disp_Access_No" : "2019.011.02", "_AccNumSort1" : "", "Disp_Create_DT" : "2017-2018", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2018", "Disp_Title" : "Strange Business", "Alt_Title" : "", "Obj_Title" : "<i>Strange Business</i>", "Series_Title" : "", "Disp_Maker_1" : "Rose Nestler", "Sort_Artist" : "Nestler, Rose", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Two-channel digital video (color, silent): 20 min.", "Support" : "", "Disp_Medium" : "Two-channel digital video (color, silent): 20 min.", "Info_Page_Comm" : "", "Dedication" : "Gift of the American Academy of Arts and Letters, New York; Hassam, Speicher, Betts and Symons Funds, 2019.011.02", "Copyright_Type" : "", "Disp_Obj_Type" : "Audio-Visual", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.011.02_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.011.02_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.011.02_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.011.02_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11939", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4617, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4617", "Disp_Access_No" : "2019.011.01", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Dress for Success", "Alt_Title" : "", "Obj_Title" : "<i>Dress for Success</i>", "Series_Title" : "", "Disp_Maker_1" : "Rose Nestler", "Sort_Artist" : "Nestler, Rose", "Disp_Dimen" : "24 x 18 x 5 in. (60.96 x 45.72 x 12.7 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Leather, thread, batting, grommets, hooks ", "Support" : "", "Disp_Medium" : "Leather, thread, batting, grommets, hooks ", "Info_Page_Comm" : "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.", "Dedication" : "Gift of the American Academy of Arts and Letters, New York; Hassam, Speicher, Betts and Symons Funds, 2019.011.01", "Copyright_Type" : "", "Disp_Obj_Type" : "3-D Object", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.011.01_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.011.01_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.011.01_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.011.01_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "15254", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4616, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4616", "Disp_Access_No" : "2019.010", "_AccNumSort1" : "", "Disp_Create_DT" : "2015", "_Disp_Start_Dat" : "2015", "_Disp_End_Date" : "2015", "Disp_Title" : "Egungun", "Alt_Title" : "", "Obj_Title" : "<i>Egungun</i>", "Series_Title" : "", "Disp_Maker_1" : "Cauleen Smith", "Sort_Artist" : "Smith, Cauleen", "Disp_Dimen" : "12 x 9 in. (30.48 x 22.86 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "9 in.", "Dimen_Extent" : "", "Medium" : "Archival pigment print", "Support" : "rag paper", "Disp_Medium" : "Archival pigment print on rag paper", "Info_Page_Comm" : "Cauleen Smith is an interdisciplinary artist currently based in Los Angeles whose work often reflects on Afro-diasporic histories. This photographic “portrait” shows a mysterious figure shrouded in shells. In Smith’s <i>Egungun: Ancestor Can’t Find Me</i> (2017), a related video, the figure emerges from the sea and wanders zombielike in a lush tropical landscape before burying itself in the sand. Smith drew inspiration from Yoruban societies in West Africa where <i>egungun</i>, costumed dancers who appear at large public celebrations as visible manifestations of departed ancestors, are a significant spiritual and cultural presence. However, Smith’s version is more harrowing, as the figure appears lost and alone, perhaps representing the spirit of an enslaved African who drowned during the Middle Passage. Smith created the <i>Egungun</i> photographic series and video during a residency on Captiva Island, Florida, where the remnants of shell mounds are all that remain of the Calusa, the island's original inhabitants. In Smith's film and photograph, the <i>egungun</i> serves as a figurative embodiment of the legacies of slavery and colonialism in the present day—an unsettled ancestral presence severed from the lineage of its people and culture. ", "Dedication" : "Purchased with funds provided by the Contemporary Council, 2019.010", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "https://corbettvsdempsey.viewingrooms.com/the-big-dig-cauleen-smith-/", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.010_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.010_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.010_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.010_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "13487", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4615, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4615", "Disp_Access_No" : "2019.009", "_AccNumSort1" : "", "Disp_Create_DT" : "2017", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2017", "Disp_Title" : "Untitled #041220", "Alt_Title" : "", "Obj_Title" : "<i>Untitled #041220</i>", "Series_Title" : "", "Disp_Maker_1" : "Georgina Reskala", "Sort_Artist" : "Reskala, Georgina", "Disp_Dimen" : "16 x 20 in. (40.64 x 50.8 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "Sheet", "Medium" : "Gelatin silver print", "Support" : "", "Disp_Medium" : "Gelatin silver print", "Info_Page_Comm" : "", "Dedication" : "Gift of PDX Contemporary Art, 2019.009", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.009_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.009_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.009_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.009_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "10099", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4614", "Disp_Access_No" : "2019.008", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Untitled (Badlands)", "Alt_Title" : "", "Obj_Title" : "<i>Untitled (Badlands)</i>", "Series_Title" : "", "Disp_Maker_1" : "Juventino Aranda", "Sort_Artist" : "Aranda, Juventino", "Disp_Dimen" : "57 x 77 x 2 in. (144.78 x 195.58 x 5.08 cm)", "Disp_Height" : "57 in.", "Disp_Width" : "77 in.", "Dimen_Extent" : "", "Medium" : "Oil on wool Pendleton blanket", "Support" : "", "Disp_Medium" : "Oil on wool Pendleton blanket", "Info_Page_Comm" : "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. ", "Dedication" : "Gift of Todd B. Rosin & R. Todd Armstrong, 2019.008", "Copyright_Type" : "", "Disp_Obj_Type" : "Mixed media", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.008_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.008_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.008_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.008_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "18713", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4610, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4610", "Disp_Access_No" : "2019.007", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "<i>Untitled</i>", "Series_Title" : "", "Disp_Maker_1" : "Ko Kirk Yamahira", "Sort_Artist" : "Yamahira, Ko Kirk", "Disp_Dimen" : "46 x 90 in. (116.84 x 228.6 cm)", "Disp_Height" : "46 in.", "Disp_Width" : "90 in.", "Dimen_Extent" : "object", "Medium" : "Acrylic and graphite on partially unwoven canvas with wood", "Support" : "", "Disp_Medium" : "Acrylic and graphite on partially unwoven canvas with wood", "Info_Page_Comm" : "Seattle-based artist Ko Kirk Yamahira meticulously removes individual threads from the weave of his canvases, deconstructing his paintings and turning surface into form. In this work, the artist has created two detached segments linked with loose threads by pulling out the vertical strands in the middle section of the canvas and then stretching the intact ends around separate wooden frames. Yamahira does not prescribe a fixed orientation for his pieces, making the arrangement presented here but one of many possible configurations. ", "Dedication" : "Purchased with funds partially provided by Seattle Art Fair, 2019.007", "Copyright_Type" : "", "Disp_Obj_Type" : "Mixed media", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.007_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.007_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.007_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.007_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "15261", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4609, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4609", "Disp_Access_No" : "2019.006", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "To a Flame", "Alt_Title" : "", "Obj_Title" : "<i>To a Flame</i>", "Series_Title" : "", "Disp_Maker_1" : "Anthony White", "Sort_Artist" : "White, Anthony", "Disp_Dimen" : "60 x 48 in. (152.4 x 121.92 cm)", "Disp_Height" : "60 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "Object", "Medium" : "PLA (plastic) on panel", "Support" : "", "Disp_Medium" : "PLA (plastic) on panel", "Info_Page_Comm" : "Seattle-based artist Anthony White makes his “paintings” with a small machine about the size and shape of an electric toothbrush. It feeds and heats strands of colored polylactic acid (PLA), a type of plastic, in a time-intensive application process the artist compares to using a tattoo gun. In <i>To a Flame</i>, White presents a layered commentary on how smart phones and social media saturate our lives and absorb our attention. White elevates an intimate but mundane scene of a man scrolling on his phone through the dramatic, high-contrast illumination of the figure, which recalls the European tradition of Baroque painting. With the inclusion of photo-editing icons placed over the image, the painting suggests that the viewer, too, is looking into a screen, underscoring the extent to which digital technologies mediate how we see one another and ourselves. ", "Dedication" : "Purchased with funds provided by Seattle Art Fair, 2019.006", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.006_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.006_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.006_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.006_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "10003", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4608, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4608", "Disp_Access_No" : "2019.005", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "this trembling turf (the shallows)", "Alt_Title" : "", "Obj_Title" : "<i>this trembling turf (the shallows)</i>", "Series_Title" : "", "Disp_Maker_1" : "Mary Ann Peters", "Sort_Artist" : "Peters, Mary Ann", "Disp_Dimen" : "60 x 48 in. (152.4 x 121.92 cm)", "Disp_Height" : "60 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "object", "Medium" : "White ink", "Support" : "clayboard", "Disp_Medium" : "White ink on clayboard", "Info_Page_Comm" : "<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?” ", "Dedication" : "Purchased with funds provided by Seattle Art Fair, 2019.005", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.005_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.005_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.005_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.005_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "15253", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4607, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4607", "Disp_Access_No" : "2019.004", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Snowflake Drawing #5 (Double Lotus Pod)", "Alt_Title" : "", "Obj_Title" : "<i>Snowflake Drawing #5 (Double Lotus Pod)</i>", "Series_Title" : "", "Disp_Maker_1" : "Jeffry Mitchell", "Sort_Artist" : "Mitchell, Jeffry", "Disp_Dimen" : "36 x 24 in. (91.44 x 60.96 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "Sheet", "Medium" : "Graphite, ink, carbon transfer, and watercolor on paper", "Support" : "", "Disp_Medium" : "Graphite, ink, carbon transfer, and watercolor on paper", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by Seattle Art Fair, 2019.004", "Copyright_Type" : "", "Disp_Obj_Type" : "Mixed media", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.004_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.004_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.004_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.004_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "15291", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4606, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4606", "Disp_Access_No" : "2019.003", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "From Sea to Dawn", "Alt_Title" : "", "Obj_Title" : "<i>From Sea to Dawn</i>", "Series_Title" : "", "Disp_Maker_1" : "Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian", "Sort_Artist" : "Haerizadeh, Ramin, Rokni Haerizadeh, Hesam Rahmanian", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Digital video (color, silent); 6:21 min.", "Support" : "", "Disp_Medium" : "Digital video (color, silent); 6:21 min.", "Info_Page_Comm" : "", "Dedication" : "Gift of Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian, 2019.003", "Copyright_Type" : "", "Disp_Obj_Type" : "Audio-Visual", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "<span style="font-size:10pt">Comprising over six thousand altered stills, <span style="font-style:italic">From Sea to Dawn </span>intervenes in the photojournalistic representation of migrants crossing into Europe, interjecting painterly patterns, fablelike animal imagery, and surreal mirroring effects. These modifications disrupt the Western moral codes (especially the sentimental, romanticizing pathos) embedded in the original photographs. The artists’ transformative video emphasizes individual objects that are the physical evidence of the lives of migrants—mylar blankets, plastic water bottles, flashlights, and orange life jackets—which reappear in various forms, including masks, torsos, and braces. By transposing the geometric forms, symmetry, and satire characteristic of the artists’ work, the video retells the migrants’ journey in a reenvisioned, Eastern visual language. <br/><br/>Video interview with RRH which has excerpts of From Sea to Dawn: <span style="font-family:''Calibri'';font-size:11pt">https://www.youtube.com/watch?v=CNrkehwCar4</span></span>", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.003_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.003_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.003_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.003_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11935", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4605, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4605", "Disp_Access_No" : "2019.002", "_AccNumSort1" : "", "Disp_Create_DT" : "2017-2018", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2018", "Disp_Title" : "If Marco Polo Brought the Pasta Meme to Europe from China, He didn't Need to be a Pasta Chef but all he Had to do was to Disperse the Meme in the Environment and Other Humans Infected by it, Would Express it in their Behaviour", "Alt_Title" : "", "Obj_Title" : "<i>If Marco Polo Brought the Pasta Meme to Europe from China, He didn't Need to be a Pasta Chef but all he Had to do was to Disperse the Meme in the Environment and Other Humans Infected by it, Would Express it in their Behaviour</i>", "Series_Title" : "", "Disp_Maker_1" : "Rokni Haerizadeh", "Sort_Artist" : "Haerizadeh, Rokni", "Disp_Dimen" : "11 11/16 x 16 1/2 in. (29.72 x 41.91 cm)", "Disp_Height" : "11 11/16 in.", "Disp_Width" : "16 1/2 in.", "Dimen_Extent" : "", "Medium" : "Gesso, watercolor and ink on printed paper", "Support" : "", "Disp_Medium" : "Gesso, watercolor and ink on printed paper", "Info_Page_Comm" : "In this work on paper, Rokni Haerizadeh transforms an iconic British Royal wedding portrait of Prince Harry and Meghan Markle into an outlandish scene. By overpainting the original image with animal figures, distorted features, and other surreal details, the artist critiques mass consumption of such coded displays of soft power and points to the ugly truths they conceal. This work is part of a larger series of the same title that includes modified images of protests, military actions, and political summits. Together, they reflect the process of mutation that oft-replicated images and narratives undergo—much like memes, mentioned in the title—as they circulate through our collective consciousness. ", "Dedication" : "Purchased with funds provided by the Contemporary Council, 2019.002", "Copyright_Type" : "", "Disp_Obj_Type" : "Mixed media", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.002_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.002_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.002_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.002_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11318", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4487, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4487", "Disp_Access_No" : "2019.001", "_AccNumSort1" : "", "Disp_Create_DT" : "1855", "_Disp_Start_Dat" : "1855", "_Disp_End_Date" : "1855", "Disp_Title" : "Portrait of a woman", "Alt_Title" : "", "Obj_Title" : "<i>Portrait of a woman</i>", "Series_Title" : "", "Disp_Maker_1" : "Fritz Hickmann", "Sort_Artist" : "Hickmann, Fritz", "Disp_Dimen" : "28 1/8 x 23 1/2 in. (71.44 x 59.69 cm)", "Disp_Height" : "28 1/8 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "Board", "Medium" : "Oil on canvas mounted to board", "Support" : "", "Disp_Medium" : "Oil on canvas mounted to board", "Info_Page_Comm" : "", "Dedication" : "Gift of Anne K. and Hart M. Nelsen, PhDs, in memory of Nova Ziegler Nelsen, 2019.001", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "European Early", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.001_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.001_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.001_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.001_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "12300", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }