Winter 2015: Collected Works

  • John Baldessari,
    Camel (Albino) Contemplating Needle (Large) (2013)
    fiberglass, aluminum, stainless steel, acrylic and paint,
    camel: 107 x 106 x 31 1/2 in (271.8 x 269.2 x 80cm),
    needle: 126 1/2 x 4 x 3 in (321.3 x 10 x 7.6 cm)
  • Hugh Scott-Douglas,
    Untitled (2014)
    UV curable ink on styrene wrapped in polyester with tape, in 12 parts,
    overall: 65 1/4 x 34 in (165.7 x 86.3 cm),
    each: 16 1/4 x 11 1/4 in (41.2 x 28.5 cm)
  • Hugh Scott-Douglas,
    Untitled (2014)
    UV curable ink on styrene wrapped in polyester with tape, in 12 parts,
    overall: 65 1/4 x 34 in (165.7 x 86.3 cm),
    each: 16 1/4 x 11 1/4 in (41.2 x 28.5 cm)
  • Jota Castro,
    Motherfuckers Never Die! (2008)
    mirror,
    55 1/8 x 39 3/8 in (140 x 100 cm)
  • Jota Castro,
    Motherfuckers never die (2003)
    light boxes, diptych,
    each: 70 7/8 x 47 1/4 in (180 x 120 cm)

  • Tavares Strachan,
    I Belong Here (Exploded) (2011)
    neon,
    137 3/4 x 295 1/4 in (350 x 750 cm)
  • Dan Halter,
    When the Bag Tears the Shoulders Get a Rest (2011)
    plastic mesh bag, fabric, embroidery,
    43 x 28 in (109.2 x 71 cm)
Men’s room door from First National Bank of Oklahoma City (1901-1972)
66 x 30 x 8 5/8 in (167.6 x 76.2 x 21.9)

  • Hank Willis Thomas,
    Intentionally Left Blanc (2012)
    screenprint on retro-reflective paper,
    61 1/4 x 40 15/16 in (155.5 x 104 cm)
  • John Wesley,
    The Signing of the Declaration (1976)
    acrylic on canvas,
    42 x 50 in (106.7 x 127)
  • Glen Ligon,
    Untitled (America America) (2015)
    neon and blackened steel,
    each: 22 x 125 x 10 in (55.8 x 317.5 x 25.4 cm)
  • Tim Rollins and K.O.S.,
    Animal Farm ’92 (after George Orwell) (1992)
    acrylic, book pages on canvas, caption tablet,
    109 7/8 x 541 3/8 in (279 x 1375 cm)
  • Ai Weiwei,
    Coloured Vases (2009)
    7 Han Dynasty vases and industrial paint,
    each: 12 x 15 x 9 in (30.6 x 38 x 22.8 cm)
  • Brian Jungen,
    Prototype for New Understanding #10 (2001)
    Nike Air Jodans, metal stand,
    14 x 23 x 11 in (35.5 x 58.4 x 28 cm)
  • Judy Chartrand,
    If this is what you call “Being Civilized” I’d rather go back to being a “Savage”: Astoria Hotel (2003)
    low-fired ceramic, underglaze, glaze, luster,
    4 1/2 x 13 in (11.4 x 33 cm)
  • Judy Chartrand,
    If this is what you call “Being Civilized” I’d rather go back to being a “Savage”: Empress Hotel (2003)
    low-fired ceramic, underglaze, glaze, luster,
    4 1/2 x 13 in (11.4 x 33 cm)
  • Judy Chartrand,
    If this is what you call “Being Civilized” I’d rather go back to being a “Savage”: Balmoral Hotel (2003)
    low-fired ceramic, underglaze, glaze, luster,
    4 1/2 x 13 in (11.4 x 33 cm)
  • Judy Chartrand,
    If this is what you call “Being Civilized” I’d rather go back to being a “Savage”: Sunrise Hotel (2003)
    low-fired ceramic, underglaze, glaze, luster,
    4 1/2 x 13 in (11.4 x 33 cm)
  • Judy Chartrand,
    If this is what you call “Being Civilized” I’d rather go back to being a “Savage”: Dodson Hotel (2003)
    low-fired ceramic, underglaze, glaze, luster,
    4 1/2 x 13 in (11.4 x 33 cm)
  • Kerry James Marshall,
    Heirlooms and Accessories (2002)
    3 inkjet prints in colours, on wove paper, in artist’s rhinestone encrusted wooden frames,
    each: 56 5/8 x 53 3/4 in (143.8 x 136.5 cm)
  • Mark Lewis,
    Things Seen, Speakers Corner (1990)
    photograph,
    80 1/2 x 50 1/2 in (204.4 x 128.2 x 1.6 cm)
  • Keavin Beasley,
    …ain’t it? (2014)
    hooded sweatshirt, resin,
    37 x 21 x 2 1/2 in (53.3 x 94 x 6.3 cm)
  • Remy Jungerman,
    Nobody is Protected (2000)
    wooden sheets, microphones,
    59 x 71 x 47 in (149.8 x 180.3 x 119.4 cm)
  • Hank Willis Thomas,
    Priceless (2004)
    photograph,
    71 x 90 in (180.3 x 228.6 cm)

  • Thomas J Price,
    Plain to See (2016)
    bronze,
    36 x 15 x 10 in (91.4 x 38 x 25.4 cm)
  • Gilbert and George,
    Bomb (2006)
    triptych,
    overall: 132 1/4 x 574 3/8 x 3/8 in (335.9 x 1458.9 cm)
  • Mircea Cantor,
    One Piece, the Same (2010)
    table, tripod, mirror, plexiglas,
    118 1/8 x 39 3/8 in (300 x 100 cm)
  • Mona Hatoum,
    Witness (2009)
    biscuit porcelian,
    19 1/4 x 9 5/8 x 9 5/8 in (48.9 x 24.4 x 24.4 cm)
  • Christian Boltanski,
    Monument: La Fete de Pourim (1989)
    folded clothes, stacked on a wood panel, black and white photograph, electrical,
    108 1/4 x 31 1/2 x 5 1/2 in (275 x 80 x 14 cm)
  • Douglas Gordon,
    Faust 1224-1237 (1992)
    blue neon tubes,
    4 1/2 x 39 x 1 1/2 (11.4 x 99 x 3.8 cm)
  • Carlos Vega,
    Untitled (2007)
    acrylic and collage on canvas,
    8 x 10 in (20.3 x 25.4 cm)
  • Gary Simmons,
    Passin’ Me By (1998)
    chalk, chalkboard, wood,
    84 x 79 x 26 3/4 in (213.3 x 200.6 x 68 cm)
  • Gary Simmons,
    Passin’ Me By (1998)
    chalk, chalkboard, wood,
    84 x 79 x 26 3/4 in (213.3 x 200.6 x 68 cm)
  • Cathleen Lewis,
    Naming (1998)
    wooden desk with carved letter,
    24 1/2 x 31 3.8 x 28 in (62.2 x 79.7 x 71 cm)
  • Robert Beck,
    Thirteen Shooters (2001)
    13 inkjet pigment prints,
    each: 60 x 40 in (152.4 x 101.6 cm)
  • Larry Clark,
    Tulsa (1980)
    50 hand printed gelatin silver prints,
    18 7/8 x 14 3/4 in (48 x 37.5 cm)
  • Bill Owens,
    Suburbia “I don’t feel that Richie playing with guns will have a negative effect on his personality. (He already wants to be a policeman.) His childhood gun playing won’t make him into a cop shooter. By playing with guns he learns to socialize with others” (1973/1999)
    silver gelatin print,
    23 1/2 x 19 in (59.7 x 48.2 cm)
  • Untitled photograph by Benedict J Fernandez
    22 1/2 x 17 in (57 x 43.2 cm)
  • Robert Beck,
    “Glove Skinning” (Bruised) (“The Modern Man’s Guide to Life” by Denise Boyles, Alan Rose, and Alan Wellikoff) (2003)
    charcoal and thread on paper,
    43 x 64 in (109.2 x 162.5 cm)
  • Marco Andreoli-Nazario,
    Where did you go? (2015)
    stuffed animal,
    20 x 27 in (50.8 x 68.6 cm)
  • Jim Hodges,
    When the light comes on (1998)
    cotton and polyester,
    48 x 32 1 3/4 in (121.9 x 81.3 x 4.4 cm)
  • Salla Tykka,
    American Dream (1999)
    c-print mounted on aluminum,
    29 7/8 x 24 3/4 in (76 x 63 cm)
  • Andres Serrano,
    Fatal Meningitis (1992)
    cibachrome, silicone and plexiglas in wood frame,
    49 1/2 x 60 in (125.7 x 152.4 cm)
  • Andres Serrano,
    The Morgue (Knifed to Death I and II) (1992)
    cibachrome print diptych,
    each: 45 x 37 5/8 in (114.3 x 95.6 cm)
  • Sophie Calle,
    Baby (1990)
    black and white photograph,
    70 7/8 x 43 1/4 in (180 x 109.8 cm)
  • Sophie Calle,
    Mother, Father, No. 37 (1990)
    black and white photograph,
    each: 71 1/4 x 43 3/4 in (181 x 111 cm)
  • Rashid Johnson,
    Stay black and Die from the series Things I need to do (2006)
    spray enamel and glitter on felt,
    76 x 88 in (193 x 223.5 cm)

  • Kerry James Marshall,
    As Seen on TV (1998-2000)
    enamel on plastic vase, famed video still, wood and glass shelf with steel bracket and chain, plastic flowers,
    66 x 46 x 25 in (167.6 x 116.8 x 63.5 cm)
  • Larry Johnson,
    Untitled (Your Name Here / Jesus B. Christ) (1990)
    13 colour photographs,
    each: 18 x 15 1/2 in (45.7 x 39.4 x 3.8 cm)
  • Jonathan Horowitz,
    Crucifix for Two (2005/2010)
    douglas fir,
    80 x 1/4 x 110 1/4 x 7 in (203.8 x 280 x 17.8 cm)
  • Brian Jungen,
    I Shall Be Released (2015)
    Nike Air Jordan Shoes,
    28 7/8 x 26 x 12 in (73.3 x 66 x 30.5 cm)
  • General Idea,
    Black AIDS (prototype)     (1991)
    oil on canvas,
    28 1/2 x 28 1/2 in (72.4 x 72.4 x 4.4 cm)
  • Glenn Ligon,
    The Period (2005)
    neon,
    7 7/8 x 60 5/8 in (20 x 154 cm)

  • Catherine Opie,
    Pig Pen (Tattoos) (2009)
    c-print,
    32 x 24 in (83.2 x 62.8 cm)
  • Mike Kelley,
    Timeless/Authorless (1995)
    fifteen black and white photographs, mounted on museum board,
    each: 32 1/2 x 25 1/4 in (81.9 x 64 in)

  • Anton Kannemeyer,
    B is for Black (2007)
    acrylic on paper,
    29 1/4 x 25 in (75 x 63.5 x 2.5 cm)
  • Normal Rockwell,
    On Top of the World (1933)
    collotype,
    36 x 30 in (91.4 x 76.2 cm)
  • Anton Kannemeyer,
    W is for White (2007)
    acrylic on paper,
    29 1/4 x 25 in (75 x 63.5 cm)