{ "objects" : [ { "embark_ID" : 1147, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1147", "Disp_Access_No" : "1975.150", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Spatial Concept", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Ahlgren", "Sort_Artist" : "Ahlgren, Roy", "Disp_Dimen" : "17 x 16 3/4 in. (43.2 x 42.5 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "16 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "When you first approach this print by Roy Ahlgren, you might see a hallway covered in a brightly colored pattern. A closer look might reveal a more complex environment in which different flat surfaces meet in improbable ways. How does the artist use color and form to suggest this unreal space? Here, Ahlgren demonstrates how the human visual system prefers to interpret a complex shape as a regular shape perceived from a different angle or position. Look at the lower left corner of this print. Do you see a flat image of ovals and diamonds? Or a three-dimensional space where different flat surfaces, each covered in a pattern of circles and squares, meet? When you look at this image, you are most likely picking up on these spatial cues, and interpreting a complex three-dimensional space, rather than a flat image composed of different shapes. 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In this image, Albers also creates an optical illusion that challenges our perception of spatial depth. Which of these rectangles appears to be the top of the pyramid? Does that change depending on where you look? 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(60.2 x 58.3 cm)", "Disp_Height" : "23 11/16 in.", "Disp_Width" : "22 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.178_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.178_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.178_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.178_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "30361", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, not for web or print", "View" : "" } , ] },{ "embark_ID" : 1488, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1488", "Disp_Access_No" : "1975.179", "_AccNumSort1" : "", "Disp_Create_DT" : "by 1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Somersault", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lila Copeland", "Sort_Artist" : "Copeland, Lila", "Disp_Dimen" : "16 7/16 x 12 11/16 in. (41.8 x 32.3 cm)", "Disp_Height" : "16 7/16 in.", "Disp_Width" : "12 11/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p. 164, no.1491", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.179_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.179_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.179_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.179_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13318", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1491, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1491", "Disp_Access_No" : "1975.180", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Prince Albert, His Face", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Dennis Corrigan", "Sort_Artist" : "Corrigan, Dennis", "Disp_Dimen" : "13 1/4 x 10 in. (33.7 x 25.4 cm)", "Disp_Height" : "13 1/4 in.", "Disp_Width" : "10 in.", "Dimen_Extent" : "", "Medium" : "Cronaflex film print", "Support" : "paper", "Disp_Medium" : "Cronaflex reproduction of a drawing on paper", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "<SPAN><SPAN STYLE="font-family:''Calibri'';font-size:11pt">The example of Parson’s Son on view here, like all of the prints in the edition, is essentially a photographic reproduction. The original graphite drawing, executed on frosted acetate, was photographed full size to produce a continuous tone negative. The negative was then contact printed onto a translucent sheet of Cronaflex, a sensitized polyester plastic manufactured by DuPont, to yield what amounts to, in photographic terms, a master positive that remains remarkably faithful to the original.<BR/></SPAN><SPAN STYLE="font-family:''Segoe UI''"><BR/></SPAN><SPAN STYLE="font-family:''High Tower Text'';font-size:12pt">http://gallery.arts.psu.edu/items/show/239</SPAN></SPAN>", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.180_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.180_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.180_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.180_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "30362", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, not for web or print", "View" : "" } , ] },{ "embark_ID" : 940, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/940", "Disp_Access_No" : "1975.333.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Rainbow Faucet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jim Dine", "Sort_Artist" : "Dine, Jim", "Disp_Dimen" : "4 3/4 x 5 in. (12.1 x 12.7 cm)", "Disp_Height" : "4 3/4 in.", "Disp_Width" : "5 in.", "Dimen_Extent" : "", "Medium" : "Aluminum", "Support" : "", "Disp_Medium" : "Cast aluminum and paint", "Info_Page_Comm" : ""Seven Objects in a Box" "Seven Objects in a Box" was the first edition of Pop multiples - that is an editioned group of objects instead of prints. Rosa Esman, a young art collector on a budget, who attended all of the Pop shows and witnessed the popularity of the Warhol and Lichtenstein shopping bags, believed that Pop objects might be met with the same enthusiasm. She had already published the Pop print portfolio, "New York Ten," in 1964. Since artists had begun using or creating objects themselves - Warhol was making Brillo boxes and signing real Campbell soup cans, and Jasper Johns made sculptures of beer cans - Esman envisioned that the next step would be to have artists make a group of objects for a portfolio. The availability of new technology made it possible to create the artist's visions. For example, Tom Wesselmann's "Little Nude" could not have been created before World War II because the technology of vacuum-formed molding was not available. The artists also needed the ability to mass-produce the objects they designed. Luckily, New York was the perfect place to find offbeat cottage industries capable of producing 100 sand cast faucets and baked enamel sunrises. The result of Esman's effort is a combination of objects quite typical of each artist's personal work. Warhol used a still from a movie he made in 1963 called "The Kiss." The film froze on a close-up of a black man and a white woman kissing, a subject considered quite provocative at the time. Wesselmann's "Little Nude" is lifted right from his "Great American Nude" series, which he began in 1961, featuring highly simplified, stylized, abruptly cropped female bodies, usually focusing on the lips, nipples and genitalia. D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors." [Gallery label text]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.333.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.333.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.333.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.333.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31841", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1570, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1570", "Disp_Access_No" : "1975.329.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jim Dine", "Sort_Artist" : "Dine, Jim", "Disp_Dimen" : "22 1/8 x 16 15/16 in. (56.2 x 43 cm)", "Disp_Height" : "22 1/8 in.", "Disp_Width" : "16 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "From the portfolio "New York Ten" This work claims to be a self-portrait, although we don't actually see what we typically expect in a portrait - a face. One of the trademarks of Pop Art is the absence of the artist's hand - many of them wanted their work to look machine-made or mass-produced. Pop Art, as well as many other art movements throughout the ages, often prompted the question "What is art?" This work also invites the question "What is a portrait?" [Gallery label text] The self-portrait has been redefined by a number of artists in contemporary times. In Dine’s case, the substitution of a bathrobe for the artist’s face is a witty twist on an old theme, simultaneously conveying anonymity and “cozy familiarity,” in the words of one writer. Like Warhol’s Campbell’s soup can, Dine’s bathrobe has become a signature image of Pop art of the Sixties. In addition to his unconventional approach to self-portraiture, Dine’s printing technique “breaks the rules” as well. Rather than being centered on the paper, the image is asymmetrically placed, which creates a cropped effect. [Label text, 1997]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.329.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.329.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.329.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.329.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12741", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1593, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1593", "Disp_Access_No" : "1975.188", "_AccNumSort1" : "", "Disp_Create_DT" : "by 1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Public Landing", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Eckmair", "Sort_Artist" : "Eckmair, Frank", "Disp_Dimen" : "11 1/2 x 8 1/2 in. (29.2 x 21.6 cm)", "Disp_Height" : "11 1/2 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p. 173, no.1566", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.188_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.188_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.188_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.188_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "30366", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, not for web or print", "View" : "" } , ] },{ "embark_ID" : 1606, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1606", "Disp_Access_No" : "1975.332.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Cafeteria", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard Estes", "Sort_Artist" : "Estes, Richard", "Disp_Dimen" : "19 3/4 x 23 3/4 in. (50.2 x 60.3 cm)", "Disp_Height" : "19 3/4 in.", "Disp_Width" : "23 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.332.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.332.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.332.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.332.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37627", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1607, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1607", "Disp_Access_No" : "1975.190", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "The 3 Wise Men", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Barbara E. Evans", "Sort_Artist" : "Evans, Barbara E.", "Disp_Dimen" : "21 3/4 x 31 1/2 in. (55.2 x 80 cm)", "Disp_Height" : "21 3/4 in.", "Disp_Width" : "31 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.190_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.190_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.190_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.190_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "6002", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1644, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1644", "Disp_Access_No" : "1975.329.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Air Frame", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Helen Frankenthaler", "Sort_Artist" : "Frankenthaler, Helen", "Disp_Dimen" : "22 x 16 15/16 in. (55.9 x 43 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "16 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "From the portfolio "New York Ten"", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.329.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.329.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.329.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.329.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39431", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3123, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3123", "Disp_Access_No" : "1975.204", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ben Gibson", "Sort_Artist" : "Gibson, Ben", "Disp_Dimen" : "23 x 18 in. 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(120.3 x 95.6 cm)", "Disp_Height" : "47 3/8 in.", "Disp_Width" : "37 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph and serigraph with debossing", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Runs: Lithograph - yellow, red Serigraph - light blue-green, blue Debossing", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.328.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.328.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.328.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.328.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15360", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2011, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2011", "Disp_Access_No" : "1975.328.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Still Life with Windmill", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Lichtenstein", "Sort_Artist" : "Lichtenstein, Roy", "Disp_Dimen" : "35 7/8 x 44 7/8 in. (91.2 x 114 cm)", "Disp_Height" : "35 7/8 in.", "Disp_Width" : "44 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph and serigraph with debossing", "Info_Page_Comm" : "Gallery label text 2013: “When we think of a still life, we think of paintings that have a certain atmosphere or ambience. My still life paintings have none of those qualities, they just have pictures of certain things that are in a still life, like lemons and grapefruits and so forth. I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it. It's not meant to have the usual still life meaning.” - Roy Lichtenstein ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Runs: Lithograph - yellow, blue, red, green Serigraph - light blue, black Debossing", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.328.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.328.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.328.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.328.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15357", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 996, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/996", "Disp_Access_No" : "1975.333.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Sunrise", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Lichtenstein", "Sort_Artist" : "Lichtenstein, Roy", "Disp_Dimen" : "8 1/2 x 11 x 1 in. (21.6 x 27.9 x 2.5 cm)", "Disp_Height" : "8 1/2 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "overall", "Medium" : "Enamel", "Support" : "metal", "Disp_Medium" : "Enamel on metal", "Info_Page_Comm" : ""Seven Objects in a Box" "Seven Objects in a Box" was the first edition of Pop multiples - that is an editioned group of objects instead of prints. Rosa Esman, a young art collector on a budget, who attended all of the Pop shows and witnessed the popularity of the Warhol and Lichtenstein shopping bags, believed that Pop objects might be met with the same enthusiasm. She had already published the Pop print portfolio, "New York Ten," in 1964. Since artists had begun using or creating objects themselves - Warhol was making Brillo boxes and signing real Campbell soup cans, and Jasper Johns made sculptures of beer cans - Esman envisioned that the next step would be to have artists make a group of objects for a portfolio. The availability of new technology made it possible to create the artist's visions. For example, Tom Wesselmann's "Little Nude" could not have been created before World War II because the technology of vacuum-formed molding was not available. The artists also needed the ability to mass-produce the objects they designed. Luckily, New York was the perfect place to find offbeat cottage industries capable of producing 100 sand cast faucets and baked enamel sunrises. The result of Esman's effort is a combination of objects quite typical of each artist's personal work. Warhol used a still from a movie he made in 1963 called "The Kiss." The film froze on a close-up of a black man and a white woman kissing, a subject considered quite provocative at the time. Wesselmann's "Little Nude" is lifted right from his "Great American Nude" series, which he began in 1961, featuring highly simplified, stylized, abruptly cropped female bodies, usually focusing on the lips, nipples and genitalia. D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors." [Gallery label text]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.333.3_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.333.3_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.333.3_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.333.3_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "31842", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2008, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2008", "Disp_Access_No" : "1975.243", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Temple", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Lichtenstein", "Sort_Artist" : "Lichtenstein, Roy", "Disp_Dimen" : "23 3/4 x 17 3/4 in. (60.3 x 45.1 cm)", "Disp_Height" : "23 3/4 in.", "Disp_Width" : "17 3/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Runs: Blue, black", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.243_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.243_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.243_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.243_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39124", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2010, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2010", "Disp_Access_No" : "1975.328.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Yellow Still Life", "Alt_Title" : "Still Life with Cheese", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Lichtenstein", "Sort_Artist" : "Lichtenstein, Roy", "Disp_Dimen" : "33 1/16 x 44 3/8 in. (84 x 112.7 cm)", "Disp_Height" : "33 1/16 in.", "Disp_Width" : "44 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph and serigraph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Runs: Lithograph - yello Serigraph - beige, black", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.328.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.328.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.328.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.328.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15356", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2037, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2037", "Disp_Access_No" : "1975.373", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "The Big Maple", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luigi Lucioni", "Sort_Artist" : "Lucioni, Luigi", "Disp_Dimen" : "3 7/8 x 5 1/2 in. (9.8 x 14 cm)", "Disp_Height" : "3 7/8 in.", "Disp_Width" : "5 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "1972 Presentation Print of the Print Club of Rochester", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Embury catalogue raisonne dates this work to 1950 and says it was made in an edition of 50; this work is noted as 27/100 so apparently a separate edition was struck for the Print Club''s Presentation Print.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.373_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.373_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.373_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.373_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "34525", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2066, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2066", "Disp_Access_No" : "1975.250", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Faces", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert E. Marx", "Sort_Artist" : "Marx, Robert E.", "Disp_Dimen" : "10 x 12 3/4 in. (25.4 x 32.4 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "12 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p. 210, no.1878. Note publication date of 1968 as compared to EmbARK creation date of 1965.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.250_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.250_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.250_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.250_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21820", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2165, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2165", "Disp_Access_No" : "1975.258", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Staplework", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Karen Nelson", "Sort_Artist" : "Nelson, Karen", "Disp_Dimen" : "17 5/8 x 18 in. 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D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors." 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(29.1 x 73.8 cm)", "Disp_Height" : "11 7/16 in.", "Disp_Width" : "29 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Gunpowder", "Support" : "paper", "Disp_Medium" : "Gunpowder and pastel on paper", "Info_Page_Comm" : "For a year, this drawing resided in the home of Vice President and Mrs. Walter Mondale, part of a group of 75 works of art from museums in the Northeast borrowed for the official residence on the grounds of the Naval Observatory in Washington. In a letter dated April 26, 1979, Joan Mondale wrote to Director John Mahey, “Having spent many of my working years in museums, I know that lending works of art brings mixed feelings—the pleasure of sharing, pride that the work has been sought, and the apprehension for one’s treasures. Be assured, your generosity in loaning works to the Vice President’s House is gratefully appreciated.” (Did Mrs. Mondale know that Pop artist Ed Ruscha’s lover was named Ultra Violet?) [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Lent to Vice President Walter Mondale''s home in Washington DC, March 20, 1979 - March 30, 1980", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.289_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.289_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.289_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.289_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "45036", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "These photos and variants can be found on the disk entitled "MAG 160210"", "View" : "" } , ] },{ "embark_ID" : 3274, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3274", "Disp_Access_No" : "1975.290", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Frontier House, Lewiston, N.Y.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Russo", "Sort_Artist" : "Russo, Sam", "Disp_Dimen" : "22 1/16 x 30 in. 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(26.7 x 35.6 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p. 182, no.1641. Note 1965 publication date.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.294_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.294_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.294_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.294_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31613", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2334, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2334", "Disp_Access_No" : "1975.387", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1951", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1956", "Disp_Title" : "The Shepherd", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Carl Max Schultheiss", "Sort_Artist" : "Schultheiss, Carl Max", "Disp_Dimen" : "7 1/2 x 4 5/8 in. (19.1 x 11.7 cm)", "Disp_Height" : "7 1/2 in.", "Disp_Width" : "4 5/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Line engraving", "Info_Page_Comm" : "1951 Presentation Print of the Print Club of Rochester", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.387_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.387_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.387_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.387_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31620", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1054, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1054", "Disp_Access_No" : "1975.333.5", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1965", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1970", "Disp_Title" : "Reclining Rooster", "Alt_Title" : "Chicken", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Segal", "Sort_Artist" : "Segal, George", "Disp_Dimen" : "4 x 19 x 12 1/2 in. (10.2 x 48.3 x 31.8 cm)", "Disp_Height" : "4 in.", "Disp_Width" : "19 in.", "Dimen_Extent" : "maximum", "Medium" : "Acrylic", "Support" : "", "Disp_Medium" : "Cast acrylic and fiberglass", "Info_Page_Comm" : ""Seven Objects in a Box" "Seven Objects in a Box" was the first edition of Pop multiples - that is an editioned group of objects instead of prints. Rosa Esman, a young art collector on a budget, who attended all of the Pop shows and witnessed the popularity of the Warhol and Lichtenstein shopping bags, believed that Pop objects might be met with the same enthusiasm. She had already published the Pop print portfolio, "New York Ten," in 1964. Since artists had begun using or creating objects themselves - Warhol was making Brillo boxes and signing real Campbell soup cans, and Jasper Johns made sculptures of beer cans - Esman envisioned that the next step would be to have artists make a group of objects for a portfolio. The availability of new technology made it possible to create the artist's visions. For example, Tom Wesselmann's "Little Nude" could not have been created before World War II because the technology of vacuum-formed molding was not available. The artists also needed the ability to mass-produce the objects they designed. Luckily, New York was the perfect place to find offbeat cottage industries capable of producing 100 sand cast faucets and baked enamel sunrises. The result of Esman's effort is a combination of objects quite typical of each artist's personal work. Warhol used a still from a movie he made in 1963 called "The Kiss." The film froze on a close-up of a black man and a white woman kissing, a subject considered quite provocative at the time. Wesselmann's "Little Nude" is lifted right from his "Great American Nude" series, which he began in 1961, featuring highly simplified, stylized, abruptly cropped female bodies, usually focusing on the lips, nipples and genitalia. D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors." 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(25.1 x 33 cm)", "Disp_Height" : "9 7/8 in.", "Disp_Width" : "13 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "1974 Presentation Print of the Print Club of Rochester", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.389_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.389_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.389_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.389_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31631", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1061, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1061", "Disp_Access_No" : "1975.300", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "Big Diamond", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Smith", "Sort_Artist" : "Smith, David", "Disp_Dimen" : "28 1/8 x 27 5/8 x 8 7/8 in. (71.4 x 70.2 x 22.5 cm)", "Disp_Height" : "28 1/8 in.", "Disp_Width" : "27 5/8 in.", "Dimen_Extent" : "overall", "Medium" : "Steel", "Support" : "", "Disp_Medium" : "Steel and paint", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3286", "Rel_Obj_Title" : "Preparatory Drawing for "Big Diamond"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.300_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.300_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.300_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.300_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "35337", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other formats on Andy''s disk 101122, stored in Curatorial-- horizontal orientation, etc.", "View" : "" } , ] },{ "embark_ID" : 2393, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2393", "Disp_Access_No" : "1975.304", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "14 15/16 x 11 in. (38 x 28 cm)", "Disp_Height" : "14 15/16 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.304_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.304_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.304_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.304_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "22329", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2406", "Disp_Access_No" : "1975.334.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Fortin de las Flores (First Version)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Stella", "Sort_Artist" : "Stella, Frank", "Disp_Dimen" : "18 x 23 in. (45.7 x 58.4 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "23 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph with graphite", "Info_Page_Comm" : "The portfolio "Ten from Leo Castelli" was created to commemorate the tenth anniversary of the Leo Castelli Gallery in New York. According to the Frank Stella Catalog Raisonne, "For this print Stella submitted a gouache based on the painting Fortin de las Flores of the Concentric Squares and Mitered Mazes Series (1962-63). A second version of this image (Cat. no. 84, 1973) was created by the artist as an offset lithograph for the four-part series Jasper's Dilemma." [Gallery label text]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "According to the Frank Stella Catalog Raisonne, "For this print Stella submitted a gouache based on the painting Fortin de las Flores of the Concentric Squares and Mitered Mazes Series (1962-63). A second version of this image (Cat. no. 84, 1973) was created by the artist as an offset lithograph for the four-part series Jasper''s Dilemma."", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.334.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.334.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.334.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.334.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33250", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4601, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4601", "Disp_Access_No" : "1975.335.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Untitled (Rabat)", "Alt_Title" : "Rabat", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Stella", "Sort_Artist" : "Stella, Frank", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "This print is an adaptation of a gouache based on the painting Rabat in the Moroccan Series (1964-65). Look at the yellow-blue-yellow vertical striped pattern in the lower left corner for 30 seconds (try not to move your eyes). Then look at the white wall to the left. What do you see? You might see the same stripes but in a different order–now reading blue, yellow, blue. This phenomenon is called an after-image. Two types of photoreceptors are known to contribute to vision in human eyes: cones and rods. Cones, which are used for color vision, come in three types, each of which responds to a particular part of the color spectrum: blue, green, or red. Conversely, rods respond to the brightness of the light source. One of the models of color perception suggests that our visual system processes inputs from these photoreceptors according to three color opponent systems: red-green, blue-yellow, and white-black. These systems work in an oppositional manner, providing the foundations of the after-image effect. Where the eye registers the color blue, the blue pathway is excited while the yellow one is less stimulated. Conversely, where the eye registers yellow, the yellow pathway is excited, while the blue one is less active. How does this explain what you might have experienced? Staring at the saturated blue and yellow color fatigues the respective color-sensitive pathways. When looking at the white wall afterwards, you might not see the color of the wall but the effects of your fatigued color system. The area that tired your blue pathway now only registers yellow, and the area that tired the yellow pathway now only registers blue. The lesson? As artist Josef Albers noted, “no normal eye, even the most trained one, is foolproof against color deception.” [Label copy from Seeing in Color and Black and White, 2018]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.335.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.335.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.335.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.335.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33251", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2413, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2413", "Disp_Access_No" : "1975.308", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Mountain Range", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Reba Stewart", "Sort_Artist" : "Stewart, Reba", "Disp_Dimen" : "17 7/8 x 16 7/8 in. (45.4 x 42.9 cm)", "Disp_Height" : "17 7/8 in.", "Disp_Width" : "16 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.308_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.308_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.308_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.308_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "33249", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2454, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2454", "Disp_Access_No" : "1975.390", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Algoma Field", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lynd Ward", "Sort_Artist" : "Ward, Lynd", "Disp_Dimen" : "13 x 18 15/16 in. (33 x 48.1 cm)", "Disp_Height" : "13 in.", "Disp_Width" : "18 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "1969 Presentation Print of the Print Club of Rochester The son of a Chicago minister, Ward was raised in Massachusetts, in a household void of comics and other potential graphic influences; his development as a visual artist was original and unique. He graduated from Columbia Teachers' College (now part of Columbia University), and continued studying printmaking and book design at the National Academy of Graphic Arts in Leipzig, Germany. Once back in America, he published the first of many graphic novels, God’s Man, in 1929. His great success enabled him to further develop the graphic novel, then new to American audiences, where stories are told entirely through woodcuts, without the use of text. [Gallery label text, Print Club of Rochester exhibition, Lockhart Gallery, 2010-2011]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.390_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.390_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.390_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.390_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27240", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2458, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2458", "Disp_Access_No" : "1975.335.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Birmingham Race Riot", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "19 15/16 x 24 in. (50.7 x 61 cm)", "Disp_Height" : "19 15/16 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "sheet/image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph on paper", "Info_Page_Comm" : "Andy Warhol frequently appropriated images by other artists for his work. In this case, the image was originally a photograph by Charles Moore in "Life" magazine, May 17, 1963. [Gallery label text 2013] This image first appeared in Andy Warhol’s Disasters series, in which the artist selected, cropped, altered, and reproduced mass-circulated news photographs. The series commented upon America’s social ills with photos of suicides, car crashes and nuclear explosions. Birmingham Race Riot captures the racial tensions that gripped the country during the Civil Rights Movement. Warhol was an eager consumer of newspapers and magazines; he likely saw this photo of the Birmingham riot when it was published in LIFE magazine on May 17, 1963, only five days after the event it immortalized. The original photograph was taken by Charles Moore. ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.335.10_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.335.10_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.335.10_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.335.10_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43451", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2457, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2457", "Disp_Access_No" : "1975.314", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Flowers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "23 1/8 x 23 1/8 in. (58.7 x 58.7 cm)", "Disp_Height" : "23 1/8 in.", "Disp_Width" : "23 1/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "Andy Warhol regularly appropriated imagery from other artists. Here, he based his image on a photograph of hibiscus flowers by Patricia Caulfield in "Modern Photography", June 1964. [Gallery label text 2012] Warhol’s Flowers series was based upon a photo published in the June 1964 issue of Modern Photography taken by the magazine’s editor, Patricia Caulfield. Warhol’s appropriation of images was to have an enormous effect upon later artists—turn around to see Devorah Sperber’s appropriation of Grant Wood’s painting, American Gothic—but it was not appreciated by Caulfield who threatened to sue Warhol when she saw his Flowers. Although Caulfield never filed a lawsuit, Warhol did pay her for the use of her photo. ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.314_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.314_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.314_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.314_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12732", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1070, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1070", "Disp_Access_No" : "1975.333.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Kiss", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "12 3/4 x 8 in. (32.4 x 20.3 cm)", "Disp_Height" : "12 3/4 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "Plexiglas", "Disp_Medium" : "Serigraph on Plexiglas", "Info_Page_Comm" : ""Seven Objects in a Box" "Seven Objects in a Box" was the first edition of Pop multiples - that is an editioned group of objects instead of prints. Rosa Esman, a young art collector on a budget, who attended all of the Pop shows and witnessed the popularity of the Warhol and Lichtenstein shopping bags, believed that Pop objects might be met with the same enthusiasm. She had already published the Pop print portfolio, "New York Ten," in 1964. Since artists had begun using or creating objects themselves - Warhol was making Brillo boxes and signing real Campbell soup cans, and Jasper Johns made sculptures of beer cans - Esman envisioned that the next step would be to have artists make a group of objects for a portfolio. The availability of new technology made it possible to create the artist's visions. For example, Tom Wesselmann's "Little Nude" could not have been created before World War II because the technology of vacuum-formed molding was not available. The artists also needed the ability to mass-produce the objects they designed. Luckily, New York was the perfect place to find offbeat cottage industries capable of producing 100 sand cast faucets and baked enamel sunrises. The result of Esman's effort is a combination of objects quite typical of each artist's personal work. Warhol used a still from a movie he made in 1963 called "The Kiss." The film froze on a close-up of a black man and a white woman kissing, a subject considered quite provocative at the time. Wesselmann's "Little Nude" is lifted right from his "Great American Nude" series, which he began in 1961, featuring highly simplified, stylized, abruptly cropped female bodies, usually focusing on the lips, nipples and genitalia. D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors." [Gallery label text]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.333.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.333.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.333.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.333.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "1413", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2463, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2463", "Disp_Access_No" : "1975.391", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "White Mountains of New Hampshire", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Herbert Ogden Waters", "Sort_Artist" : "Waters, Herbert Ogden", "Disp_Dimen" : "9 x 12 5/8 in. 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Watson", "Sort_Artist" : "Watson, Ernest W.", "Disp_Dimen" : "7 x 9 in. 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(60.3 x 101.6 cm)", "Disp_Height" : "23 3/4 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph and lithograph with flocking on silver mylar", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p. 223, no.2002. Note landscape orientation in catalogue.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.315_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.315_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.315_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.315_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12993", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3305, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3305", "Disp_Access_No" : "1975.317", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Sea Coast", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jerry F. Weiss", "Sort_Artist" : "Weiss, Jerry F.", "Disp_Dimen" : "19 3/4 x 24 13/16 in. (50.2 x 63 cm)", "Disp_Height" : "19 3/4 in.", "Disp_Width" : "24 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Ink", "Support" : "paper", "Disp_Medium" : "Ink and brush on Japanese paper", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.317_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.317_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.317_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.317_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25689", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : " ", "View" : "" } , ] },{ "embark_ID" : 1073, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1073", "Disp_Access_No" : "1975.333.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Little Nude", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tom Wesselmann", "Sort_Artist" : "Wesselmann, Tom", "Disp_Dimen" : "8 x 8 x 1 1/2 in. (20.3 x 20.3 x 3.8 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "maximum", "Medium" : "Plexiglas", "Support" : "", "Disp_Medium" : "Spray-painted vacuum-formed Plexiglas", "Info_Page_Comm" : ""Seven Objects in a Box" "Seven Objects in a Box" was the first edition of Pop multiples - that is an editioned group of objects instead of prints. Rosa Esman, a young art collector on a budget, who attended all of the Pop shows and witnessed the popularity of the Warhol and Lichtenstein shopping bags, believed that Pop objects might be met with the same enthusiasm. She had already published the Pop print portfolio, "New York Ten," in 1964. Since artists had begun using or creating objects themselves - Warhol was making Brillo boxes and signing real Campbell soup cans, and Jasper Johns made sculptures of beer cans - Esman envisioned that the next step would be to have artists make a group of objects for a portfolio. The availability of new technology made it possible to create the artist's visions. For example, Tom Wesselmann's "Little Nude" could not have been created before World War II because the technology of vacuum-formed molding was not available. The artists also needed the ability to mass-produce the objects they designed. Luckily, New York was the perfect place to find offbeat cottage industries capable of producing 100 sand cast faucets and baked enamel sunrises. The result of Esman's effort is a combination of objects quite typical of each artist's personal work. Warhol used a still from a movie he made in 1963 called "The Kiss." The film froze on a close-up of a black man and a white woman kissing, a subject considered quite provocative at the time. Wesselmann's "Little Nude" is lifted right from his "Great American Nude" series, which he began in 1961, featuring highly simplified, stylized, abruptly cropped female bodies, usually focusing on the lips, nipples and genitalia. D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors." 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(49.5 x 41.6 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "16 3/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Intaglio", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.321_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.321_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.321_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.321_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "30394", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image not for web or print", "View" : "" } , ] }, ] }