1966
Josef Albers
Oil on fiberboard
30 3/4 x 30 3/4 inches

One of the most immediately recognizable and influential series of paintings produced in the twentieth century is Josef Albers's Homage to the Square. Beginning the series in 1950, at age 62, Albers was to produce more than a thousand Homage paintings and prints, in four different formats.(1) The works became widely known (one appeared on a 1980 United States postage stamp) and influenced two generations of hard edge and Minimalist art.

1951
Josef Albers
Oil on fiberboard
30 3/4 x 30 3/4 inches
Year Acquired: 1980

One of the most immediately recognizable and influential series of paintings produced in the twentieth century is Josef Albers's Homage to the Square. Beginning the series in 1950, at age 62, Albers was to produce more than a thousand Homage paintings and prints, in four different formats.(1) The works became widely known (one appeared on a 1980 United States postage stamp) and influenced two generations of hard edge and Minimalist art.

1967
Josef Albers
Oil on fiberboard
30 3/4 x 30 3/4 inches

One of the most immediately recognizable and influential series of paintings produced in the twentieth century is Josef Albers's Homage to the Square. Beginning the series in 1950, at age 62, Albers was to produce more than a thousand Homage paintings and prints, in four different formats.(1) The works became widely known (one appeared on a 1980 United States postage stamp) and influenced two generations of hard edge and Minimalist art.

1960
Milton Avery
Oil on canvas
72 x 52 inches
Year Acquired: 1989
1956
Francis Bacon
Oil on canvas
78 x 54 inches
Year Acquired: 2002

As the earliest surviving self-portrait, painted from memory when the artist was forty-seven years old, Self-Portrait, 1956 is a key work within Francis Bacon’s oeuvre. In this painting, Bacon depicts himself with the classic psychological impact that has come to characterize his portraits. He is isolated and hunched over, with asymmetrical features—the right side of his face is harshly raised by comparison with the left side, and the right eye is reduced to a crude circle.

1982
Ed Blackburn
Acrylic on canvas
61 7/8 x 83 3/4 inches
Year Acquired: 1992
1990-91
Deborah Butterfield
Unique Bronze
80 x 112 x 28 inches
Year Acquired: 1992
1953
Joseph Cornell
Wood, glass, oil, and paper
18 1/4 x 11 3/8 x 5 1/2 inches
Year Acquired: 1968
1962
Richard Diebenkorn
Oil on canvas
40 x 34 inches
Year Acquired: 1991
1976
Philip Guston
Oil on canvas
80 x 116 inches
Year Acquired: 1994
1978
Philip Guston
Oil on canvas
75 x 108 inches
Year Acquired: 1999
2012
Jenny Holzer
9 LED signs with blue diodes
.85 x 120 x 576 inches
Year Acquired: 2012
1963-64
Alain Jacquet
Oil on canvas
90 3/4 x 55 1/2 inches
Year Acquired: 2001

Between 1962 and 1964, Alain Jacquet created his Camouflage series, to which Camouflage Botticelli (Birth of Venus), 1963–64, belongs. For this piece Jacquet reproduced Sandro Botticelli’s important Renaissance painting(1) of a curvaceous, nude Venus with flowing golden hair, posed on a floating cockle shell, and he overlaid it on a gas pump that bears the word “Shell,” complete with the oil corporation’s scallop-shaped logo.

1963
Jess
Oil on canvas mounted on wood
29 3/4 x 33 inches

In 1949, after working for the Manhattan Project in Oak Ridge, Tennessee, between 1944 and 1946, Jess envisioned the earth being destroyed in the year 1975. This fear, undoubtedly part of a more pervasive anxiety experienced internationally following the devastation of World War II, inspired Jess to move to San Francisco and become an artist in an attempt to rediscover a sense of value in society. Montana Xibalba, an example from his Translation series, is part of a grand meditation on science, myth, and art.

1967
Donald Judd
Stainless steel and Plexiglas
Ten units, each 9 1/8 x 40 x 31 inches Overall 190 1/8 x 40 x 31 inches
Year Acquired: 1970

My work with the whole room began with part of it [the room]. In 1965, I made a work that extended from the floor to the ceiling. This extended the definition of space between the units to those below and above.  Donald Judd

1992-94
Anselm Kiefer
Lead, tin, and steel
74 3/4 x 208 5/8 x 43 3/8 inches
Year Acquired: 2000

Since 1969 Anselm Kiefer has consistently returned to the book as subject matter. As a primary source of knowledge and a repository of world religions, books are a powerful and paradoxical symbol for the artist. Eventually Kiefer’s books became freestanding sculptures, massive symbols of the artist’s investigation of world knowledge through images. Book with Wings consists of a massive lead book supported on a steel lectern. The pages of the open book sprout two majestic wings.

1996
Anselm Kiefer
Emulsion, acrylic, and gold leaf on canvas
130 x 218 3/4 inches (330.2 x 555.6 cm)
1961
Roy Lichtenstein
Oil on canvas
56 1/4 x 42 1/8 inches
Year Acquired: 1982

Roy Lichtenstein’s comics-based compositions rival Andy Warhol’s images of Campbell’s Soup cans and Marilyn Monroe as the best known and most influential examples of Pop art. Lichtenstein’s comic-book paintings, such as Mr. Bellamy, 1961, have attained such renown and familiarity that it is easily forgotten that they were produced only briefly (1961–65) and that, as part of his early Pop work, they provoked tremendous controversy.

2007
Roxy Paine
Stainless steel
40 x 45 x 28 feet
Year Acquired: 2008
1960
Pablo Picasso
Oil on canvas
51 1/4 x 77 1/4 inches
Year Acquired: 1967
1976
Michelangelo Pistoletto
Bronze, mirror
120 x 84 x 47 inches
Year Acquired: 2001
1952
Jackson Pollock
Enamel on canvas
56 1/4 x 31 3/4 inches
Year Acquired: 1985

Of all the Abstract Expressionists working in New York in the 1940s and 1950s, Jackson Pollock was undoubtedly the most conspicuous. Even within a radical group that took abstraction to new heights, shifting the attention of the international art world from Paris to New York, Pollock’s mercurial personality and unique mode of painting stood out.

1938
Jackson Pollock
Oil on canvas
40 x 24 inches
Year Acquired: 1985
1996
Martin Puryear
Wood (ash and maple)
432 x 22 3/4 (narrowing to 1 1/4 at top) x 3 inches
Year Acquired: 2003

Ladder for Booker T. Washington will not be on view from mid-August, 2013 through mid-Janaury 2014.

What excited me about [the piece] was that the length of it was such that you wouldn’t really be able to tell whether you were looking at something that had been manipulated or whether it was in fact truly receding into space through sheer length. — Martin Puryear

1992
Gerhard Richter
Cibachrome, edition 9/12
76 3/8 x 49 1/2 inches
Year Acquired: 1996
2002
Richard Serra
Cor-ten steel
67 feet 10 inches x 21 feet 9 inches x 20 feet 10 inches
Year Acquired: 2002
1948
Ben Shahn
Tempera on panel
36 1/8 x 48 1/8 inches
Year Acquired: 1969
1968
Frank Stella
Polymer and fluorescent polymer paint on canvas
120 1/8 x 181 inches
Year Acquired: 1987
1997
Cy Twombly
Cy Twombly
65 3/4 x 13 3/4 x 13 3/4 inches
Year Acquired: 1999
Undated
Bror Utter
Oil on canvas
Year Acquired: 1957
1962
Andy Warhol
Acrylic on canvas
82 x 66 1/4 inches (208.3 x 168.3 cm)
Year Acquired: Collection of the Mo

If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it. — Andy Warhol

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