Highlights from the Permanent Collection
Conversations between new acquisitions, infrequently seen works on paper, and permanent collection favorites take place throughout the Modern鈥檚 first floor, celebrating key narratives from modern and contemporary art. Andy Warhol鈥檚 Flowers, 1970, and Anselm Kiefer鈥檚 Papst Alexander VI: Die goldene Bulle (Pope Alexander VI: The Golden Bull), 1996, grace the Grand Lobby.
In the initial galleries, Willem de Kooning鈥檚 Two Women, 1954鈥�55, Mark Rothko鈥檚 White Band No. 27, 1954, and Sam Francis鈥檚 Untitled, from Mako Series, 1967, demonstrate the influence and variety of mid-century abstraction. Moving into the 1960s and 1970s, Andy Warhol鈥檚 Twenty-Five Colored Marilyns, 1962, and James Rosenquist鈥檚 F-111, 1974, exemplify Pop art鈥檚 simultaneous celebration and critique of consumerism, mass media, and pop culture. Works by Hock E Aye Vi Edgar Heap of Birds, Richard Prince, and Ed Ruscha come together to prompt dialogues around American identity.
In the subsequent galleries, artists take inspiration from the land to create sculptures, drawings, photographs, and performances, crafting narratives that range from the autobiographical to the philosophical. Linda Ridgway鈥檚 unique cast bronze sculpture Three Squares, 2001, pays homage to a family idiom by connecting the provision provided by a parent with that provided by nature. Marina Abramovi膰鈥檚 The Lovers, 1988, documents the artist鈥檚 physical and psychological journey as she traversed the Great Wall of China, while Robyn O鈥橬eil鈥檚 These final hours embrace at last; this is our ending, this is our past, 2007, employs an 鈥渆veryman鈥� perspective to explore themes of evolution, catastrophe, and apocalypse.
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Conversations between new acquisitions, infrequently seen works on paper, and permanent collection favorites take place throughout the Modern鈥檚 first floor, celebrating key narratives from modern and contemporary art. Andy Warhol鈥檚 Flowers, 1970, and Anselm Kiefer鈥檚 Papst Alexander VI: Die goldene Bulle (Pope Alexander VI: The Golden Bull), 1996, grace the Grand Lobby.
In the initial galleries, Willem de Kooning鈥檚 Two Women, 1954鈥�55, Mark Rothko鈥檚 White Band No. 27, 1954, and Sam Francis鈥檚 Untitled, from Mako Series, 1967, demonstrate the influence and variety of mid-century abstraction. Moving into the 1960s and 1970s, Andy Warhol鈥檚 Twenty-Five Colored Marilyns, 1962, and James Rosenquist鈥檚 F-111, 1974, exemplify Pop art鈥檚 simultaneous celebration and critique of consumerism, mass media, and pop culture. Works by Hock E Aye Vi Edgar Heap of Birds, Richard Prince, and Ed Ruscha come together to prompt dialogues around American identity.
In the subsequent galleries, artists take inspiration from the land to create sculptures, drawings, photographs, and performances, crafting narratives that range from the autobiographical to the philosophical. Linda Ridgway鈥檚 unique cast bronze sculpture Three Squares, 2001, pays homage to a family idiom by connecting the provision provided by a parent with that provided by nature. Marina Abramovi膰鈥檚 The Lovers, 1988, documents the artist鈥檚 physical and psychological journey as she traversed the Great Wall of China, while Robyn O鈥橬eil鈥檚 These final hours embrace at last; this is our ending, this is our past, 2007, employs an 鈥渆veryman鈥� perspective to explore themes of evolution, catastrophe, and apocalypse.
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