OPEN SPACE

……………………………………………………………"That bottle keeps its blink on its side red from horizon." Clark Coolidge………………………………..

This afternoon, SFMOMA is hosting a special memorial service honoring Bay Area sculptor and conceptual artist David Ireland, who passed away last spring. Ireland was a central figure in conceptual art in the Bay Area and beyond. From the 1970s until his death, he produced a highly idiosyncratic body of work concerned with the creation and function of art within everyday life. In place of the blog’s usual mid-month “Collection Rotation”, today we also pay tribute, with a collection of contributions from younger artists, organized by SF artist and musician Scott Hewicker.

My home, my work, my artistic and musical practices—essentially my whole life—co-exist on a steady fault line between David Ireland’s two Capp Street houses in San Francisco’s Mission District. 65 Capp Street was the site of the first Capp Street Project, and 500 Capp St, Ireland’s former home and studio, is now also, to my mind, his greatest lasting artwork. The two houses seem at times like two footprints of a standing giant, and he was a giant to me and to many. Fearlessly beginning his career late in life, David’s essential concern was the Zen-like observance of, and dedication to, the ever-lasting present. Using common, readily available materials such as concrete, found wood, and other debris, with the lightest of touch. David could make dirt sing, rewarding our acceptance of his work, but never asking for it. “You can’t make art by making art”, he often said, and you can see in some of the contributions below how many artists have taken that simple but profound idea to heart. I didn’t know him well, but his work and the ideas inherent in their making have always deeply resonated with me, as with others. David’s refusal of personal attachment to the works he made gave me the courage when I left art school to discard all my old work and start over again from scratch.

His passing last May, though expected for a long time, nevertheless struck slow and deep. I was surprised by what seemed to me a muted media response, or in the case of the art world outside the Bay Area, what felt like too little response at all. I never considered David Ireland “just” a San Francisco or West Coast artist. We were lucky to have him here and lucky he wanted to be here, and his ideas and creative spirit seem embedded in the foundation of a working artists’ community here. From spontaneous street sculpture to DIY art spaces, David helped you appreciate the beauty inherent in everyday things, and in happenings outside the sphere of marketable art. News of his death I thought should have rung out through the streets like the death of Victor Hugo in Paris. He touched so many people, so many artists.

I see echoes of David Ireland’s work in many artists, and wondered what it would look like to ask a cross-section of people here, or who used to be here, to select a work of David’s and a work of their own to engage in a kind of visual interplay that reflects how they’ve felt David’s impact on their own work or lives. Some have also contributed memories and personal insights. A tribute like this one couldn’t begin to be representative of everyone Ireland touched. I hope we can take this tiny part to indicate a much greater whole.

—Scott Hewicker

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Left: Portrait of David Ireland in the basement of 500 Capp St. Right: Allison Shields, #500, 2005.

From the basement to the roof, I had many favorite spots in David’s house. He used to have me stay there to look after it when he was away – sometimes for only a couple of days and sometimes for weeks on end. I explored every corner of that place a million times over and never tired of it. I always came across some new aspect of it that would blow my mind. Through it, I came to understand and love David Ireland. He was a good artist and a good friend and I miss him. —Allison Shields

Left: Nayland Blake, What the Sun Says, What the Whiskey is Saying, 2008, Matthew Marks Gallery. Right: David Ireland 500 capp street (interior view with Broom Collection and woven chairs, San Francisco, 1985; Copyright © 1985 Abe Frajndlich

When I first moved to San Francisco in the early 80s, one of the first artists I heard about was David Ireland. His easy humor, warm intelligence, and deep courtesy were common knowledge even then. After a couple of years I had the chance to be the custodian of an installation at Capp Street Project, and got to know David a bit better and experience those qualities firsthand. He displayed genuine interest in the work of younger artists, and the more I experienced his work the more it impressed me. A couple of years ago I got rid of the studio I was renting in Greenpoint and started making work out of my home. I returned to David’s work as a model of how to live with objects and think through them. I made a show of things I assembled from castoffs from around my neighborhood. It seems to me that the example of David’s broom piece was in the back of my mind. Many artists make a great show of erasing boundaries between art and life, but David did it with a matter-of-factness that is a shining model. His work never looks down on anyone, and instead stands as a record of intelligent inquiry, and diligent craft. Both in his personal affect and artistic practice, he is someone I would always hope to emulate. —Nayland Blake

Left: David Ireland, A Portion of: From the Year of Doing the Same Work Each Day II, 1975; Courtesy of Gallery Paule Anglim, San Francisco Right: John Zurier, Rosendals, 2006; Farnsworth Art Museum, Rockland, Maine

Changing our point of view, transforming our awareness of life and seeing reality as it is, if only for a moment, was why I feel David Ireland believed “you can’t make art by making art.” Like most simple things, it sounds like the easiest thing in the world: it’s not. He made it look effortless. —John Zurier

Left:  David Ireland, Folded Paper Landscape, 1973 Right: Cliff Hengst, Untitled (Paper Bag Drawing), 2009

I took a class with David at the Art Institute way back in the late 80’s. He wasn’t into any of the performances I was doing at the time (a lot of loud autobiographical stuff I would NEVER do now). But he taught me a lot about formalism and presentation, and to appreciate a handmade materialist aesthetic I still use to this day. —Cliff Hengst

Left:  David Ireland, Sidewalk Repair, 500 Capp Street, San Franisco, 1976 Right: Tony Labat, BULK 2007, Installation View Queens Nails Annex

Top : David Ireland, Dumbball Action, 1986.  Bottom: Gay Outlaw, Pencil Balls, 1996

One of my favorite works of David’s were his “Dumbballs.” I love the mundane material and the conundrum that he presents in their making: the concrete must be kept in motion in order to find its form. David was in service of the sculpture until it was complete. As a young artist, I found that idea to be an inspiration. —Gay Outlaw

Top: David Ireland, Dumbball Action, 1986 (photo reversed) Bottom: Guy Overfelt, Untitled 021 (crespi parking lot), 1998 – 2009

a mindless act yields a complex conundrum. its repetition informs a meditative mind yet its outcome is always different. —Guy Overfelt

Left: Veronica De Jesus, David Ireland Memorial Drawing, 2009 Right: Veronica De Jesus, David Ireland’s Performance of El Nino, 1998; recalled by VDJ 2009

David comes out wearing an oversized rain jacket or heavy coat. He proceeds to enter and he stands on something-at first I thought it was something more formal like a podium, but in writing this to you I think he just used a chair that was by chance there to stand on. He started to take off his coat, then another and another, allowing his coats to just flop down on the floor forming this mass of piles of jacket. It was really ridiculous, surprising, funny and an insightful analog of the devastating account of El Nino. Getting to know David Ireland’s approach to his life and to his art I will always remember this 2 – 3 minute performance as a highlight, and in the same way I enjoy his dumb balls: funny, and on point. —Veronica De Jesus

Left: David Ireland Installation at Institute of Contemporary Art at Maine College of Art, Portland, ME, detail, 1997 Right: Keith Evans, Migrations and Lady Beetle Constellations, 2009; Picture from GJ Art Center, Grand Junction CO, May 2009

David Ireland’s playfulness generously let place and things have their own private lives. An offering and an idea. Architecture and Ecology may potentially be similar, if not interchangeable, contemplative devices when one enters with wonder and in a spirit of close attention, like in the inspiring life and work of David Ireland. —Keith Evans

Left: David Ireland: School of Chairs, 1988; courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive. Photo: Ben Blackwell. Right: Nina Zurier: Stockholm 155, 2007; photograph; courtesy George Lawson Gallery, San Francisco.

In 1988 I was working at the Berkeley Art Museum, and worked with David on his Matrix show. We went to UC Salvage together to look for the chairs that became School of Chairs, one of several installation/ sculptures in the exhibition. In 2007 I was traveling in Sweden and Finland and ended up taking a lot of photographs of chairs. This was the first, and I was thinking of School of Chairs when I shot it. One of the things I appreciate most about David’s work is the way he used simple, actions and things. It’s stuck with me, so that I end up seeing things (more or less) through his eyes. —Nina Zurier

Left: David Ireland: Untitled, nd  Right: Vince Fecteau: Untitled, 1996

Left: David Ireland, Newgate, 1986-87 Right: Charles Goldman, Spacefiller, 2009

In 2001 I curated a show at Apex Art called Making the Making. The exhibition included objects made by artists in order to help make them make their work. David was represented by a Dumb Ball and a pair of rubber gloves. When the show was over, David generously gave me the Dumb Ball. It is one of my most prized possessions. —Charles Goldman

Left: David Ireland, Cast Concrete Head With Dumbball, 1993 (no longer extant) Right: Bob Linder, Everything went black!, 2008

I first met David in 1996. David hired Will Rogan and I to help build a big chair at Gallery Paule Anglim. We didn’t know what we were doing but David had complete faith in us. I continued to work for DI and take care of 500 Capp. I stayed there while David was out of town so it always looked like someone was home. Some of my fondest memories are of dinner at David’s, I feel lucky I had the opportunity to spend as much time as I did at 500 Capp Street. David lived in a world where repairing a home could make it a sculpture and a sculpture could be a bent wire above your head, concrete on the floor or a wet dollar bill left to dry above the sink. David was both an inspiring artist and a friend, I will miss him very much. —Bob Linder

Left: David Ireland, Elephant stool with shade, 1978 – 1991 Right: Ella Tideman, Improvised microphone stand, 2009

ELEPHANT STOOL Story has it, David Ireland began making art because of an elephant stool. A seat, made from the taxidermied foot of an elephant, was for sale in his shop and caught the eye of a young artist who needed it for a piece. Ever-curious Ireland allowed him to borrow it and attended the show. Here he first glimpsed the world of contemporary art and determined wholeheartedly to join in. Many will scoff at conceptual art as they suffer neither desire for possession nor awe of craftsmanship. Ireland’s own drive to delight was independent from desire. He considered the works of man, without judgment, from a point of view generally reserved for the appreciation of nature. This blithe benevolence should not be confused with lack of sophistication; to me, it is proof of his rare and pure vision. —Ella Tideman

Left: David Ireland, Untitled (Capillary Action), 1995; Berkeley Museum of Art collection Right: Kathryn Spence, Work in progress in studio, 2009

Left: David Ireland, 500 Capp Street (interior Hallway View), San Francisco, 1986; Copyright ©1986 Abe Frajndlich Right: Jesse Schlesinger, 100 ton line, 2008

“If you have a regard for light- its gentleness and the subtleness and intensities on different days- you can only treat what the light illuminates with the same kind of regard” David Ireland (from Jesse Schlesinger)

Left: David Ireland, Air Where You Are, ca. 1990 Right: Moira Murdoch, Collected Measurements: 914 Douglass Street, 2008

Left: Chris Sollars, Untitled, 2009 Right: David Ireland, Broom Collection With Boom, 1978/88

I live within three blocks of David’s 500 Capp St. House, and have been making sculptures directly with ready-made-trash and debris I find on streets of our neighborhood. His home has a presence in our neighborhood which has influenced many of the artists’ projects that have happened at my home at 667Shotwell. David’s home sculptures carry the residue of history that came before. This sculpture was made on 20th St, just down the street from Capp St House. —Chris Sollars

Left: David Ireland, collage of images from 500 Capp Street; Copyright ©1986 Abe Frajndlich. Right: Megan Wilson, collage of images from Home, 1996-2008

David Ireland’s home at 500 Capp Street was one of the inspirations for my site-specific installation/environment Home 1996 – 2008. I loved how David integrated his work so directly into his everyday life and living environment, challengingthe definition of what constitutes “art”, and using materials and practices that weren’t necessarily popular or accepted by the standards of the art world at the time. I’m very grateful to David for the different perspective and the delight he provided in experiencing life and art. His work lives on in the work of those of us he inspired. —Megan Wilson

Impediments are stars here Purpose feeds On a missing leg Come in, mind the empty mason jar Ration time, fog and will The winter’s sail won’t be still —Rebecca Goldfarb, from SOLIDIFY, for David Ireland

Our monthly feature, Collection Rotation: some wonderful guest organizes a mini-exhibition from our collection works online. This month’s guest-curator is is SFMOMA’s very own Jefre Cantu, musician in life, and long-time operations tech and resident yoga instructor by SFMOMA day. Thanks Jefre!

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The artwork I chose for this rotation is made up mostly of things that I’ve seen in the galleries here at SFMOMA at some point over the last seven years. The musical accompaniments are not meant to be soundtracks per se, but are rather musical expressions that come to mind when I see the work. I hope  through the sound clips & links I have provided, if you hear anything interesting, you could lead yourself into further discovery.

Agnes Martin, Petal, 1964; © Estate of Agnes Martin

Eliane Radigue: Kyema, Intermediate States

Originally a student of musique concrete heavyweights Pierre Schaeffer and Pierre Henry, French composer Eliane Radigue created her first long form (what she describes as ‘unfolding’)drone work for a Buchla synthesizer while at NYU in 1970. Four years later, while performing under the invitation of Terry Riley at Mills Collage, Radigue was introduced to Tibetan Buddhism; she later converted and gave up music-making to study Buddhism full time. Lucky for us her guru urged her to drone again & since the early 70s she’s crafted a massive body of work for both synthesizer & acoustic instruments. Radigue’s music does not at all lend itself to the soundbite. It’s just enormous.

(more…)

Our monthly feature, Collection Rotation: some wonderful guest organizes a mini-exhibition from our collection works online. This month’s guest-curator is the artist Mads Lynnerup, whose work is included in the current Media Arts exhibition The Studio Sessions. Mads lived and worked in the Bay Area for several years, now he’s moved on to even more urban pastures. Thanks Mads!
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Untitled

After exploring the permanent collection of SFMOMA both in person and virtually I became curious about the number of artworks in the collection which are “untitled.” While accumulating all of the “untitled” works from SFMOMA’s website, which lists many of the permanent collection online, I started thinking about why so many artworks end up without a title. Some might say it’s a sign of laziness and others will say that an “untitled” artwork leaves the smallest distraction for the interpretation of it. Besides these two more obvious arguments, I did discover that there are hardly any pieces or documents in the Architecture and Design collection that are untitled, and it seems to be more common to “untitle” a photograph than any other media in the collection, which in some way seems a little backwards, given the number of photographs that a photographer deals with in his or her practice.

There’s no doubt the number of “untitled” artworks is big; please see for yourself below and enjoy.

Mads Lynnerup

Untitled, 1936, Untitled, ca. 1935, Untitled, ca. 1935, Untitled (Striptease), 1974, ohne title [Untitled] (mental map series), 2006, Untitled, ca. 1956, Untitled, ca. 1848, Untitled [Glass, decanter, and bowl], ca. 1929. Untitled, 1974, Untitled, 1967, Untitled (Colored Windows), 2000, Untitled (Computer), 2000, Untitled (Desert House), 2000, Untitled, Shopping #16, 1999, Untitled, Shopping #35, 1999, Untitled, ca. 1852, Untitled [Reticulated image of buildings], 1973, Untitled [Young woman in elevator], 1973, Untitled, from the series Pseudo-Reportage, 1980, Untitled, from the series Pseudo-Reportage, 1980, Untitled (formerly Box), 1971, Untitled, ca. 1950s, Untitled [Basket display], 1910-1911, Untitled #6, from the series White Nights, Sugar Dreams, 2000, Untitled #8, from the series White Nights, Sugar Dreams, 2000, Untitled, 1964-1972, Untitled [Portrait], 1880-1890, Untitled (Church Steeple, Claremont New Hampshire), ca. 1880, Untitled, Neighborhood (Tight-Knit), 2008, Untitled (Interior, 29), from the portfolio Park City, 1979, Untitled (Interior, 37), from the portfolio Park City, 1979, Untitled (Interior, 38), from the portfolio Park City, 1979, Untitled (Interior, 39), from the portfolio Park City, 1979, Untitled [Man and woman], ca. 1852, Untitled, 1455, 1997, Untitled, 1471, 1998, Untitled (Dumpster Drawing), 1999, Untitled, from the series Mannequins, 2002, Untitled, 1970, Untitled, 1969, Untitled, ca. 1912, Untitled [Nude woman reclining on chaise], ca. 1911-1913, printed ca. 1966, Untitled, from Storyville Portraits, ca. 1912, Untitled, 1971, Untitled JWS, 1968, Untitled (400.300.50), 1974, Untitled (Rope and Chair), 1984, Untitled, ca. 1955, Untitled, ca. 1955, Untitled (Puzzle), 1995, Untitled, 1928, Untitled, 1936, Untitled, 1948, Untitled (Chairs with Leaves, Luxembourg Gardens, Paris), 1952, Untitled (Fashion, Paris), 1934, Untitled (Fashion, Paris), 1933, Untitled (Gobelins, France), 1933, Untitled (High Wire Act, Circus, NY), 1936, Untitled (Plants at Gutter, Paris), 1952, Untitled (Self-Portrait), 1945, Untitled (Street Fair, Paris), 1933, Untitled (Street in Paris), 1952, Untitled (Tulips), 1939, Untitled [Woman with hat], 1933, Untitled [Three women displaying their puffy sleeves], ca. 1893-1896, Untitled (RB #13), 1946-1948, Untitled (RB #15), 1946, Untitled (RB #16), 1946-1948, Untitled (RB #18), 1946-1948, Untitled No. 1, ca. 1959, Untitled No. 2, ca. 1960, Untitled No. 4, ca. 1959, Untitled (RCA Speakers), ca. 1935, Untitled (Portrait of a Brother and Sister), ca. 1850, Untitled [Two women and a man], n.d., Untitled, from the Step series, 1974, Untitled, n.d., Untitled [Couple kissing], ca. 1932, Untitled, from the series Graffiti, ca. 1937, Untitled (Bull), ca. 1850s, Untitled (Cloth), 1996, Untitled [Portrait of a woman], ca. 1885, Untitled, 1951, Untitled, 1960, Untitled (Views of industrial machinery in various English plants), ca. 1920, Untitled (Bird), 1957-1960, Untitled [Grain elevator], ca. 1932, Untitled [Lick Observatory], ca. 1915, Untitled [Still life], ca. 1915, Untitled (Self-portrait in a photo booth), ca. 1960, Untitled [New England houses], 1870s, Untitled, 1936, Untitled (Face and mirror), ca. 1929, Untitled (Hands and Doll), 1936, Untitled (I am in training, don’t kiss me), 1927-1929, Untitled (Self-Portrait), ca. 1929, Untitled (Self-Portrait), ca. 1928, Untitled (Field Trip to a Grain Elevator), 1952, Untitled [Fence shute, Mendocino], ca. 1880, Untitled (Charles Henri Ford), 1932, Untitled (Italy), ca. 1954, Untitled [Marilyn Monroe during the filming of the "Misfits"], 1960, Untitled, 2006, Untitled, 2006, Untitled, 2006, Untitled, 2006, Untitled (Grass and Bicycles), 1958-1959, Untitled (Desert), from the portfolio Untitled, 1975, Untitled (Galaxy), from the portfolio Untitled, 1975, 1975, Untitled (Ocean), 1977, Untitled (Ocean), from the portfolio Untitled, 1975, 1975, Untitled (Sky), from the portfolio Untitled, 1975, 1975, Untitled (Source Materials), 1999, Untitled [Family group], ca. 1850, Untitled [Postcard], ca. 1930-1950, Untitled (Three women, Madagascar), 1863, Untitled [Unknown woman in chair], ca. 1848, Untitled (Gameboard and Components #1), 1966, Untitled (Gameboard and Components #2), 1966, Untitled, from the portfolio Tulsa, 1963, printed 1980, Untitled, from the portfolio Tulsa, 1971, printed 1980, Untitled [Twilight study], ca. 1910, Untitled Aura Photo (A. C. 01/30/03), 2003, Untitled Aura Photo (A. C. 01/30/03), 2003, Untitled [Blind man playing accordion in front of building], ca. 1937-1939, Untitled (Southern California Edison Plant at Long Beach), ca. 1937, Untitled, 1970, Untitled, ca. 1850, Untitled [Gentleman in flowered vest], ca. 1850, Untitled, ca. 1945, Untitled #3, 1950, Untitled, 1967, Untitled, ca. 1949-1952, Untitled, n.d., Untitled, n.d., Untitled, ca. 1966, Untitled, n.d., Untitled, 1933, Untitled (After Unknown Photographs), n.d., Untitled (Blue Owl Box), ca. 1950, Untitled (For Sheree North), 1953-1959, Untitled (from the Crackalure Panel series), 1965, Untitled (from the Observatory series), n.d., Untitled (from the Sand Fountain series), n.d., Untitled (Naiad), ca. 1962-1965, Untitled (Object), 1933, Untitled (Pink Palace), ca. 1946-1948, Untitled (Uncertainty Principle), n.d., Untitled (Window Facade), ca. 1950-1953, Untitled, from the series Sand Box, ca. 1950, Untitled, 1987, Untitled [Girl with doll house], 1987-1988, Untitled, from the series Natural Wonder, 1992, Untitled, from the series Twilight, 1998, Untitled [Man and woman], ca. 1852, Untitled, ca. 1975, Untitled, from the series Welsh Miners, 1965, Untitled [Harbor scene, Turkey], 1854, Untitled (Woman), 1968, Untitled XXII, 1982, Untitled, 1973, Untitled, ca. 1957, Untitled (For B. C.), 1973, Untitled [French cottage], ca. 1910, Untitled, 1945-1946, Untitled, 1962, Untitled, 1946, Untitled “M”, 1951, Untitled, 1980, Untitled, Memphis, Tennessee, 1984, from the portfolio …, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, 1977-1979, Untitled [Female nude], 1850s, Untitled (Shutter Sequence), ca. 1935, Untitled, 1977, Untitled, 1934-1941, Untitled, Black Bayou Plantation, near Glendora, Mississippi, ca. 1970, ca. 1970, Untitled, ca. 1970, ca. 1970, Untitled, ca. 1975, ca. 1975, Untitled, ca. 1975, ca. 1975, Untitled, ca. 1981-1982, ca. 1981-1982, Untitled, Greenwood Moose Lodge, ca. 1972, ca. 1972, Untitled, Greenwood, Mississippi, 1973, Untitled, Memphis, 1970, 1970, Untitled, Memphis, 1970, 1970, Untitled, Memphis, ca. 1969-70, ca. 1969-1970, printed 1986, Untitled, Memphis, ca. 1970, ca. 1970, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Memphis, Tennessee, 1984, from the portfolio…, 1984, Untitled, Tallahatchie County, Mississippi, 1972, 1972, printed 1974, Untitled, Tallahatchie County, Mississippi, 1972, from the portfolio 14 Pictures, 1972, printed 1974, Untitled, the Southwestern Grill, 1967, 1967, Untitled [Workyard behind a Royal Residence], ca. 1840, Untitled, 1978, Untitled, New York 1996, 1996, Untitled, New York 1997, 1997, Untitled, New York 1997, 1997, Untitled, New York 1997, 1997, Untitled, New York 1997, 1997, Untitled, New York 1998, 1998, Untitled, New York 1998, 1998, Untitled (New York), 1929, Untitled ["Caldwell Boston Water No 1"], 1974, Untitled ["EN" of Open sign], ca. 1974, Untitled ["No dumping"], ca. 1974, Untitled ["Notice: What You Don't See Ask For"], 1974, Untitled ["OP"], 1974, Untitled ["Shoes and Boots Repaired"], ca. 1974, Untitled ["Walter L. M."], ca. 1974, Untitled [Left turn arrow painted on road], 1973, Untitled [New York Subway], 1938-1941, Untitled [New York Subway], ca. 1940, Untitled [Obscured Coca-Cola sign], ca. 1974, Untitled [Palmist Building], ca. 1974, Untitled, 1970, Untitled [Street Scene], 1940, Untitled, 2005, Untitled (Negative print, close-up of star-like flowers or seed pods), n.d., Untitled (Protest Rally at the Bauhaus), ca. 1931, Untitled (Werner Siedhoff, Naphtali Rubinstein and Albert Menzel at …, ca. 1931, Untitled, 1970, Untitled, 1937, Untitled, 1962, Untitled (Woman crossing street), ca. 1933, Untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968, Untitled, ca. 1858, Untitled [Father and daughter], ca. 1850, Untitled (#2), 1997, Untitled (#3), 1997, Untitled, 1953, Untitled, 1949, Untitled, 1966-1967, Untitled, 1963, Untitled, 1974, Untitled [Man on horseback], 1855, Untitled (Self Portrait, Chicago, IL), 1967, Untitled, 1996, Untitled, 1989Untitled #17, 2005, Untitled [Crater], 2005, Untitled (Waterpicture), 1988, Untitled No. 18, 1996, Untitled No. 20, 1996, Untitled, 1982, Untitled (Street in Mexico City), 1948, printed 1970s, Untitled (Ryan in Bed), 2002, Untitled (S with Mt. Robson), 2002, Untitled, 2001, Untitled, 1906, Untitled, 1906, Untitled, 1906, Untitled, 1906, Untitled, 1906, Untitled, 1906, Untitled, 1906, Untitled, 1906, Untitled, 1906, printed later, Untitled, 1906, printed later, Untitled, 1906, Untitled, 1906, Untitled [Military office], 1906, Untitled [Refugees in tent city], 1906, Untitled [Relief workers' station], 1906, Untitled [San Francisco earthquake], n.d., Untitled [San Francisco fire], n.d., Untitled, from The San Francisco Earthquake and Fire, 1906, Untitled 10, from the series Time After Time, 2007, Untitled 20, from the series Time After Time, 2007, Untitled (Woman’s Face Half-Hidden in Shadow), 1974, Untitled: Motorcyclist seen through car window, 1962, Untitled, 1990, Untitled, 1991, Untitled, 1998, Untitled, 1992, Untitled, 1957, “Untitled”, 1989, “Untitled”, 1992/1993, “Untitled” (Golden), 1995, Untitled, n.d., Untitled [Clifftop town], 1850s, Untitled, ca. 1850s-1860s, Untitled (moored boats), ca. 1850s-1860s, Untitled (temples and reflections), ca. 1850s-1860s, Untitled (two domed temples), ca. 1850s-1860s, Untitled (Female Wrestler in Her Bedroom), 1983, Untitled (Masked Wrestler in Suit), 1983, Untitled (Masked Wrestler Reading Letter), 1983Untitled (#8973), 1978, Untitled [Triptych], 1976, Untitled, from the series Coney Island, ca. 1950, Untitled, ca. 1847, Untitled [Portrait of Anne Eliz. Boule (Mrs. Charles Wardell)], ca. 1850, Untitled [Portrait of Charles Wordell], ca. 1852, Untitled [Portrait of Henry Wordell], ca. 1854, Untitled, 1960, Untitled, 1970, Untitled (Study for Bathers), 1942, Untitled (Study for Jealousy), ca. 1938, Untitled (Study for Promenade Deck), 1934, Untitled [Two prominent gentleman], ca. 1855, Untitled [Young Girl in Bloomers], ca. 1850, Untitled [Portrait of three people, with one man's face cut out of the print..., ca. 1905-1910, Untitled, Newman, CA, 1995, Untitled, ca. 1854-1856, Untitled [Alice Hawes], ca. 1850, Untitled [Interior of a Sculptor's Studio, Possibly Boston or ..., ca. 1850, Untitled [Mother and Two Children], ca. 1850, Untitled [Portrait of a Woman], ca. 1850, Untitled [Three Hawes Children: Marion, Alice, and Edward], ca. 1862, Untitled, 1960, Untitled (Family Picking Cotton), Buttonwillow, California, 1953, Untitled (Men Lying in Field), ca. 1950, Untitled (Connie Chung), 1985, Untitled, from the suite Just Good Eats For U Diner, Nov. 1971, Untitled, from the suite Just Good Eats For U Diner, Nov. 1971, Untitled, 1960, Untitled, 1975, Untitled, 1990, Untitled or Not Yet, 1966, Untitled #1862, from the series House Hunting, 1996-1998, Untitled #1937, from the series House Hunting, 1996-1998, Untitled #2027-A, from the series House Hunting, 1996-1998, Untitled, 1909, Untitled (Childworkers, North Carolina), 1908, Untitled (Newsboys at Night, Rochester, New York), 1912, Untitled (Sardine Packing Factory), n.d., Untitled [Broken fence], n.d., Untitled [Fisherman's Nets], n.d., Untitled [Negative Print], n.d., Untitled [Oil tank with railroad car], n.d., Untitled [Rooftop with shadows], n.d., Untitled [Scaffolding on building], n.d., Untitled [Seated Pubescent Girl], n.d., Untitled, 1943, Untitled (#50), 1969-1971, Untitled, 1936, Untitled, 1906, Untitled, ca. 1962, Untitled [Chickens], n.d., Untitled [Men dressing a hog], ca. 1846, Untitled [Two men sitting under a pergola], ca. 1847, Untitled, 1972, Untitled, 1969, Untitled [Charles B. Curtiss before Leaving for California], ca. 1849, Untitled, 1998, Untitled, 1990, Untitled, 1968, Untitled No. 7, 1978, Untitled, ca. 1875, Untitled, 1964, Untitled, 1970, Untitled, 1952, Untitled [Man with top hat and cane sitting in a chair], ca. 1855, Untitled (Man with Small Basket), ca. 1975, Untitled (Figures with black shape), 2002, Untitled, 1961, Untitled, 1961, Untitled [Portrait of a gentleman], ca. 1850, Untitled, 1974, Untitled, from the series Chinese New Year, San Francisco, 1955, Untitled, 1973, Untitled, 1962, Untitled, ca. 1965, Untitled, from the series The Three Cornered World, 2007, Untitled, 1960, Untitled, 1968-1969, Untitled, 1949-1951, printed 1997, Untitled, 1958, Untitled, from the series Dustballs, 1994, Untitled, from the series Dustballs, 1994, Untitled, from the series Dustballs, 1994, Untitled, 1976, Untitled, from the portfolio Works by Artists in the New York Collection…, 1973, Untitled, 1951, Untitled (Building Montage), 1930s, Untitled (Rooms), 2001, Untitled (Landscape on mirror table), n.d., Untitled, ca. 1915, Untitled, 1991, Untitled, 1990, Untitled, 1992, Untitled (Tralala), 1991, Untitled (Tutta Pasta), 1990, Untitled, 1940, Untitled (ANT154), 1961, Untitled, ca. 1955, Untitled (Lenin Montage), 1923, Untitled [View of mountain road in Norway], n.d., Untitled (Spain), 1974, printed ca. 1979, Untitled (collage of hand, angel, brick building), 1931, Untitled, 1940-1945, Untitled (K-1), 1944, Untitled (K-3), 1953-1962, Untitled (House), 1988, Untitled (#9- Strathmore), 2002, Untitled, n.d., Untitled, 1930’s, Untitled [Man tilting back in chair], ca. 1930s, printed ca. 1965, Untitled, from the Fire Flies series, 1975, Untitled, from the series Figure in Motion, ca. 1969-1973, Untitled, n.d., Untitled [Study of Chartres Cathedral], 1852, Untitled [Reproduction of "Retour de la Bergerie" by Charles Jacque]…, ca. 1876, Untitled, 1938, Untitled (Montage), 1940s, Untitled, from the series Desire, 1991, Untitled, ca. 1948, Untitled, 1942, Untitled (New York), ca. 1942, Untitled, 1962, Untitled, 1958, Untitled (Nude), 1962, Untitled, from the suite 10 West Coast Artists, 1967, Untitled (Calla Lily X-Ray), 1930s, Untitled (Jasper Johns Working at Gemini), 1971, Untitled (John Altoon in His Venice Studio), 1968, Untitled (Joseph Albers in His Hartford, Connecticut Studio), 1969, Untitled (Oivind Falstrom Sculpture for the Art & Technology Project…), 1969, Untitled [Jewelry], ca. 1900, Untitled, from the series The Destruction of Lower Manhattan, 1968, Untitled, ca. 1940, Untitled, 1966, Untitled, 1965, Untitled (Elsa Schiaparelli), ca. 1933, Untitled (Maurice de Vlaminck), 1930, Untitled (Rayograph), 1922, Untitled (Rayograph), 1920s, Untitled (Rayograph), ca. 1921, Untitled (Self-Portrait), 1933, Untitled (Tanja Ramm), ca. 1930, Untitled, from the Film Emak Bakia, 1926, Untitled, from the posthumous edition Femmes, n.d., printed 1981, Untitled, from the installation Evidence, 1977, Untitled (Clock, San Francisco), 1948, printed 1992, Untitled (Easter Window in San Francisco), 1948, printed 1992, Untitled (Ocean Waves), ca. 1963, Untitled, 1974, Untitled, 1964, Untitled, 1971, Untitled, 1972, Untitled, from the portfolio Five Plates, 1973, Untitled, from the portfolio Five Plates, 1973, Untitled, from the portfolio Five Plates, 1973, Untitled, from the portfolio Five Plates, 1973, Untitled, from the portfolio Five Plates, 1973, Untitled [Baby with hoop], ca. 1850, Untitled [Reproduction of "Le Crimes de la Guerre" by Emile Chatrousse]…, ca. 1876, Untitled (Monolith), 1964, Untitled, 1927, Untitled (Energy Tree), 1972-1973, Untitled (Tree Forms), 1971, Untitled, n.d., Untitled (also referred to as Kinetic Sculpture), 1962, Untitled, 1996, Untitled, 1951, Untitled Chrome Bag, 1970, Untitled, 1961, Untitled, 1966, Untitled, ca. 1968, Untitled, 1960, Untitled (Cranston Ritchie), ca. 1964, Untitled (Detail of Stone Wall), n.d., Untitled [Masked Boy Standing in Doorway], ca. 1959, Untitled (Stockton Street at Post), 1997, Untitled, from the series Silueta Works in Iowa, 1978, Untitled [Four children with their left hands raised], ca. 1887-1892, Untitled [Reproduction of "Les Anges Rebelles" by Henri-Eugéne Delacroix]…, ca. 1876, Untitled [Reproduction of "Locuste Essaye, en Présence de Néron, le Poison..., ca. 1876, Untitled [Reproduction of "Pendant la Neuvaine de Sainte-Genevieve..., ca. 1876, Untitled [Reproduction of "Pendant la Noce" by Gustave Jundt]…, ca. 1876, Untitled [Reproduction of "Retour de la Pêche aux Huitres par les Grandes..., ca. 1876, Untitled, ca. 1920-1924, Untitled, 1977, Untitled, ca. 1960, Untitled, ca. 1960, Untitled (New York City), 1940, Unitled ["Market scene - Xochimilco"], n.d., Untitled, n.d., Untitled (Four Women Doing Laundry), n.d., Untitled (Man with Box of Plants on His Head), n.d., Untitled (Popular Festival in a Town near Tehuan), n.d., Untitled (Portrait of Benvenuto Modotti), n.d., Untitled (Portrait of Rose Richey at Abraham González Street Apartment), n.d., Untitled (Two Barefoot Boys with Baskets), n.d., Untitled (Village Street), n.d., Untitled (Woman Carrying Load of Wood), n.d., Untitled (Woman Lifting Skirt with Basket on Head), n.d., Untitled ["1st of May Manifestation - Labor Day - Taken from a balcony..., 1927, Untitled ["A bakery boy in a little town carrying bread in that basket to sell"], ca., Untitled ["A popular festival in a town near Tehuantepec"], ca. 1929, Untitled ["A toy stand during the Easter holidays in the Alameda''], n.d., Untitled ["An aqueduct built at the time of the Spanish conquest"], n.d, Untitled ["Chair made by indians for their own use"], n.d., Untitled ["Costume from Tehuantepec"], n.d., Untitled ["Cuernavaca"], n.d., Untitled ["Demonstration in favour of Obregon the day he arrived in the..., n.d., Untitled ["Detail of altar in catholic church"], n.d., Untitled ["Everything is carried on the head by the women in T."], n.d., Untitled ["Exterior of our house in Tacubaya - but maybe I already..., 1923, Untitled ["Facade of an old church built by the spaniards in Mexico"], n.d., Untitled ["Hotel in Cuernavaca"], n.d., Untitled ["Indian fishermen drying the nets"], 1926, Untitled ["Indian rain-coat made of straw"], n.d., Untitled ["Indian woman selling cabbage"], n.d., Untitled ["Indians carrying blocks of stone on their back for the..., ca. 1927, Untitled ["Indians carrying loads of corn husks for the making of 'tamales' "], ca. 1927, Untitled ["Indians getting fertalizer [sic] from the bottom of the canal at…, n.d., Untitled ["Indians kneeling in front of a church entrance"], 1926, Untitled ["July 30 1927"], n.d., Untitled ["Leather work for trimming of 'Charro' suits"], n.d., Untitled ["Little girl taking part in a Mexican folk dance"], n.d., Untitled ["Loading bananas in Veracruz for the U.S."], ca. 1927-1929, Untitled ["Making tortillas"], n.d., Untitled ["Man carrying a load of straw on his back"], 1926, Untitled ["Market day - Notice the man at the right carrying his..., n.d., Untitled ["Market day in a little town"], n.d., Untitled ["Market scene"], n.d., Untitled ["Mazatlan - Agosto - 1923"], 1923, Untitled ["Mexican house"], n.d., Untitled ["People waiting in front of the National Pawn Shop to go and..., 1928, Untitled ["San Francisco Acatepec Puebla - Church façade"], n.d., Untitled ["Stone carving"], n.d., Untitled ["Street scene in Guanajuato"], n.d., Untitled ["The clouds are almost every day so wonderful. This picture..., ca. 1924-1926, Untitled ["The little girl and I on the Gondola and the man who took us"], n.d., Untitled ["The way indian women dress in the state of Michoacan"], n.d., Untitled ["View of Guanajuato"], n.d., Untitled ["Women washing their clothes & bathing in the river of Tehuantepec"], n.d., Untitled ["Xochimilco - Mexico - Nov. 1925 - The little girl is the..., n.d., Untitled ["Young musicians of a village band - mostly all indians..., n.d., Untitled [Baby nursing], ca. 1926-1927, Untitled [Boy defecating], ca. 1926-1929, Untitled [Charro on Horseback], 1926, Untitled [Children in Colonia de la Bolsa], 1927-1928, Untitled [Convent of Tepotzotlán], 1924, Untitled [Feet in Sandals], ca. 1927, Untitled [Girl with Braids Writing], ca. 1926-1929, Untitled [Indian Women Seated in Front of Building], 1926, Untitled [Man Carrying Wooden Objects on Back], ca. 1926-1929, Untitled [Obregón Demonstration], 1928, Untitled [View from Tina Modotti's Window, Mexico City], ca. 1927, Untitled [Wall with Two Windows and Top of Door], n.d., Untitled [Watercolored Menu], n.d., Untitled [Woman Doing Laundry in Front of Doorway with Four Children], ca. 1926-1929, Untitled [Woman Doing Laundry], ca. 1927, Untitled [Woman with Pot on Head], 1929, Zócalo (Mexico City Square), ca. 1926-1929, Untitled ["Leather work for trimming of 'Charro' suits"], n.d., Untitled, 1925, Untitled, n.d., Untitled, 1997, Untitled, from the series Journey into Something, 1971, Untitled [Interior Through Screen Window], ca. 1947, Untitled [Scythe by Shed], 1947, Untitled (Figuration), 1948, Untitled (Ultramarine), 1974, Untitled (Study of an Algerian Girl), ca. 1856, Untitled, from the series Sugar Cane, 2003, Untitled (Female Nude), ca. 1899, Untitled, from the series Turn In [pink bed], 2002, Untitled, ca. 1947-1948, Untitled (Photo Bulletin Board), 1992, Untitled [Reproduction of "Le Nid" by Charles Chaplin]…, ca. 1876, Untitled, ca. 1932, Untitled, ca. 1929, Untitled, 1982, Untitled, 1981, Untitled, 1974, Untitled, 1969, Untitled, 1963, Untitled (Wheels and Suspended Double Pyramid 3B), 1978, Untitled (Fig. 8 ), 2000, Untitled, 1970, Untitled 3, 1949, Untitled, from the series Get Your Mind Right, 2002, Untitled, from the series Get Your Mind Right, 2001, Untitled, 1994, Untitled (SLA), ca. 1989, Untitled, ca. 1925, Untitled (Portrait of Alfred Stieglitz), 1932, Untitled (#1), from the series One, 1970, printed 1975, Untitled (#3), from the series One, 1970, printed 1975, Untitled (#49), from the series One, 1970, printed 1975, Untitled (Two Women with a Contortionist), 1978, Untitled, 1992, Untitled, 1994, Untitled, 1996, Untitled (MPD), 1998, Untitled (Couple by BBQ), from the series Suburbia, 1968-1970, printed 1972, Untitled (Ice cream man—”Debbie’s 447-7660″), from the series…, 1975, Untitled, 1998, Untitled, ca. 1947, Untitled, 1957, Untitled P-47, 1960, Untitled [boy with popsicle], from the series British Food, 1995, Untitled [buns in plastic], from the series British Food, 1995, Untitled [burnt chicken legs], from the series British Food, 1995, Untitled [buttered bread], from the series British Food, 1995, Untitled [cakes with sprinkles], from the series British Food, 1995, Untitled [carrots and cucumbers], from the series British Food, 1995, Untitled [cookie with sprinkles], from the series British Food, 1995, Untitled [crusty green topping], from the series British Food, 1995, Untitled [cup of tea], from the series British Food, 1995, Untitled [donut with bite mark], from the series British Food, 1995, Untitled [donuts], from the series British Food, 1995, Untitled [eggs and meat plate], from the series British Food, 1995, Untitled [lemons], from the series British Food, 1995, Untitled [meringue], from the series British Food, 1995, Untitled [metal gravy dish], from the series British Food, 1995, Untitled [pastries and tongs], from the series British Food, 1995, Untitled [Rock Novelty food], from the series British Food, 1995, Untitled [round and fried], from the series British Food, 1995, Untitled [salad and bread], from the series British Food, 1995, Untitled [sausage tubes], from the series British Food, 1995, Untitled [spoon in beans], from the series British Food, 1995, Untitled [sundae with cherry and straw], from the series British Food, 1995, Untitled [unfinished salad], from the series British Food, 1995, Untitled [Union Jack cupcakes], from the series British Food, 1995, Untitled (Photocollage), 1928-1930, Untitled (Photogram), 1929-1930, Untitled [Carousel horse] from Banalité, 1929, Untitled [Room] from Banalité, 1929, Untitled [Train] from Banalité, 1929, Untitled [Playing Handball], 1950, Untitled, 1905-1906, Untitled, 1906, Untitled (Hands and Kitchen Utensils), from the series Raster, 1984, Untitled (Hands and Stains), from the series Raster, 1984, Untitled [double-sided painting], 1990, Untitled, from the series São Paolo, 1975, Untitled, 1939-1940, Untitled, 1972-1978, Untitled (cup), 1979, Untitled (cup), 1979, Untitled (cup), 1979, Untitled (cup), 1979, Untitled (cup), 1979, Untitled (Cowboy), 1991-1992, Untitled (Girlfriend), 1993, Untitled (Three Women with Heads Cast Down), 1980, Untitled [Fashion Photograph with Gloves], ca. 1935, Untitled [Sunflowers with New York Skyline an World Trade Center in the..., printed 2006, Untitled, from the Wilderness Project, 1994, Untitled, n.d., Untitled, 1983, Untitled, 1973, Untitled, ca. 1955, Untitled (Elemental Sculpture) [steel flange and stone], ca. 1953, Untitled (Glossy Black Painting), ca. 1951, Untitled (Self-Portrait, Black Mountain), ca. 1952, Untitled [Female Relative of Ethan Allan Hitchcock], ca. 1855, Untitled [View of Sevres in Snow], ca. 1852, Untitled, 1966, Untitled, 1937, Untitled, 1976, Untitled, early 1930s, Untitled; Blast Furnace, circa 1925, Untitled, 1969, Untitled (Belmondo-Berkeley), 1971-1972, Untitled (Ceiling with Tumbleweed), from the Wall Site series, 1975, Untitled (Daybed and Fur Jacket), 1973, Untitled (Living Room, Linda Connor), 1973, Untitled (Wall Paper Samples), from the Wall Site series, 1975, Untitled [Parking Lot with Exit Arrow], 1965, Untitled [Watercolored Menu], n.d., Untitled [Young Girl Wearing a Black Dress, Seated on a Table], ca. 1850, Untitled, 1973, Untitled, 1986, Untitled (Head of a Miner), 1930-1931, Untitled (Head of a young man with model airplane), study for the mural…, 1930-1931, Untitled (Head of the soaring figure), study for ceiling of the mural…, 1931, Untitled (Luther Burbank), study for the mural Allegory of California…, 1931, Untitled (Luther Burbank), study for the mural Allegory of California…, 1930, Untitled (Man standing), 1931, Untitled (Miners panning for gold), study for the mural Allegory of…, 1930, Untitled (Reclining figure), study for the ceiling of the mural Allegory of…, 1931, Untitled (Soaring figure), study for the ceiling of the mural Allegory of…, 1931, Untitled (Study for the panel Germination, in the mural A Hymn to the Earth…, 1926, Untitled (Young man with model airplane), study for the mural Allegory of…, 1930, Untitled, study for the ceiling of the mural Allegory of California, Pacific…, 1930, Untitled [Nude and Shadow], 1930, Untitled, 1961, Untitled, from the series “Public Sculpture”, 2001, Untitled, from the series “Public Sculpture”, 2001, Untitled, from the series “Public Sculpture”, 2001, Untitled, from the series “Public Sculpture”, 2001, Untitled, from the series “Public Sculpture”, 2001, Untitled, from the series “Public Sculpture”, 2001, Untitled [Tangled Twigs], ca. 1863, Untitled, 1983-1984; printed 1989, Untitled, 1st Grade, Almira Elementary School, Cleveland, Ohio, 1993, Untitled, A. D. Thomas Elementary School, Hazleton, Pennsylvania, 1993, Untitled, A. D. Thomas Elementary School, Hazleton, Pennsylvania, 1993, Untitled, Eurana Park, Weatherly, Pennsylvania, 1982, Untitled, Eurana Park, Weatherly, Pennsylvania, 1982, Untitled, Eurana Park, Weatherly, Pennsylvania, 1982; printed 1990, Untitled, from Portraits at the Vietnam Veterans Memorial, Washington, D.C., 1984; printed 1989, Untitled, from Portraits at the Vietnam Veterans Memorial, Washington, D.C., 1983-1984; printed 1994, Untitled, from Portraits at the Vietnam Veterans Memorial, Washington, D.C., 1983-1984, printed 1994, Untitled, from Portraits at the Vietnam Veterans Memorial, Washington, D.C., 1983-1984; printed 1994, Untitled, from the series Easton Portraits, 1988, printed 1990, Untitled, from the series Easton Portraits, 1988, Untitled, H.F. Grebey Jr. High School, Hazleton, Pennsylvania, 1992, Untitled, 1970, Untitled, n.d., Untitled (Composizione il Duomo), 1983, Untitled, ca. 1930, Untitled, 1937-1941, Untitled, 1960, Untitled, 1955, Untitled, 1969, Untitled, 1947-48, 1947-1948, Untitled (Railroad Bridge, Civil War), 1861, Untitled [Train Tracks], 1862, Untitled, 1958, Untitled (A), 1991, Untitled [E], 1965, Untitled, from the suite, Seven aquatints, 1972, Untitled, 1989-1993, Untitled, Serra Pelada, Brazil, 1990, Untitled [Dr. Karl Vollmoeller, poet and playwright, and Carola Neher, actress.., ca.1928-1929, Untitled (Self-Portrait), 1990, 1990, Untitled: Two-Part Vertical Construction, 1977, Ohne Titel (Bauer, Westerwald) [Untitled (Farmer, Westerwald)], ca. 1931, Untitled (Waynesboro, PA.), 1969, Untitled [Unbound Foot], ca. 1875, Untitled (Abstract Sculpture), 1932, Untitled (Aerial View), ca. 1925, Untitled [Workyard behind a Royal Residence], ca. 1840, Untitled, 1973, Untitled, 2000, Untitled (ta-ta-te), 1991, Untitled (Sandwich), 1997, Untitled, from the series Anthony Steel and Anita Ekberg, 1958, Untitled [Winter Landscape], 1917, Untitled (Four Men, One Playing a Guitar), ca. 1930s, Untitled, 1983-1987, Untitled [Woman with Handkerchief], before 1865, Untitled, 1965, Untitled (Electric Power Plant, New Bedford, Massachusetts), ca. 1938-1939, Untitled #108, 1982, Untitled #258, 1992, Untitled #399, 2000, Untitled (Marilyn), 1982, Untitled Film Still #13, 1978, Untitled Film Still #16, 1978, Untitled Film Still #18, 1978, Untitled Film Still #30, 1979, Untitled Film Still #7, 1978, Untitled [Girl], n.d., Untitled [Group of Prominent Gentlemen], ca. 1855, Untitled [Miner Looking his Best], ca. 1850, Untitled [Robert Howe, California State Senator and 49er], ca. 1850, Untitled, 1975, Untitled (Graig Nettles), 1978, Untitled, from the portfolio New California Views (1979), 1975, printed 1979, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled, title page from the album Orléans House Fête Champêtre, Juin 1864, 1864, Untitled (Brooklyn), ca. 1935, Untitled, 1960, Untitled, 1961, Untitled, 1953, Untitled, 1960, Untitled, 1961, Untitled (Factory and Reflection) from the essay Pittsburgh, A Labyrinthian Walk, 1955, Untitled [Illustration of a Man in a Car with Doll Legs Attached], 1950, Untitled (Kiosk, Budapest, Hungary), 1946, Untitled, ca. 1854-1856, Untitled [Alice Hawes], ca. 1850Untitled [Interior of a Sculptor's Studio, Possibly Boston or ..., ca. 1850, Untitled [Mother and Two Children], ca. 1850, Untitled [Portrait of a Woman], ca. 1850, Untitled [Three Hawes Children: Marion, Alice, and Edward], ca. 1862, Untitled (Pigeons, Sparrows & Blackbirds), 1997-1999, Untitled, n.d., Untitled [Vorderseite des Werbefaltblatts für Züricher Brechkoks] (Untitled…, 1931, Untitled (Adolphe Menjou), 1935, Untitled [Rockefeller Center Montage], 1932, Untitled (Clothesline), 1923, printed 1930, Untitled, from The Beater and the Pan, 1921-1922, Untitled (Fan Protractor Variation), 1967, Untitled, 1970, Untitled, ca. 1914, Untitled (Horses, Winter), 1910, Untitled (Miss Thompson), ca. 1907, Untitled (Winter Landscape, Lake George, New York), 1923, Untitled, 1934, Untitled, 1936, Untitled, 1937, Untitled, 1942, Untitled, 1947, Untitled, 1948, Untitled, 1951, Untitled, 1951-1952, Untitled, 1952, Untitled, 1954, Untitled, 1957, Untitled, 1959, Untitled, 1959, Untitled, 1960, Untitled, 1962, Untitled, 1971, Untitled, 1974, Untitled, 1974, Untitled [formerly Self-Portrait], 1945, Untitled, 1950, Untitled [Part of Frieze of the Parthenon], ca. 1868-1869, Untitled (Rebecca), 1922, Untitled [Carnival Scene], 1934, printed 1941, Untitled [Crystal Ball with Doll], 1934, printed 1941, Untitled [Tattered Posters], 1934, printed 1941, Untitled (Man Standing under Willow Tree at Water’s Edge), ca. 1925-1926, Untitled [Night Street Scene with Trees and Lamp Post], ca. 1950s, Untitled [Slice of Watermelon], 1954, Untitled [Street Vendors], ca. 1924-1926, Untitled, from the series The Swimmers, 1978, Untitled [Montage], 1929, Untitled, 1979, Untitled (Romanesque Style Capitals), ca. 1862, Untitled, 1955, Untitled, ca. 1880, Untitled [Émile Noirot, Painting by a Stream], 1880s, Untitled, ca. 1950s-1980s, Untitled, ca. 1950s-1980s, Untitled (Pad See-ew), 1990/2002, Untitled, 1983, Untitled [Naha, Okinawa], from the series Chewing Gum and Chocolate, 1969, printed 1980, Untitled, from the series Eros, Tokyo, 1969, printed 1980, Untitled, from the series Protest, Tokyo, 1969, printed later, Untitled, from the series Protest, Tokyo, 1969, printed later, Untitled [Reproduction of "Après la Tempête" by Sarah Bernhardt]…, ca. 1876, Untitled, 1992, Untitled, from the portfolio Other Realities, 1978, Untitled, n.d., Untitled (South Carolina), ca. 1929, Untitled, ca.1932, Untitled [Farmland, aerial photograph], ca. 1935, Untitled [Six California mug shots on a card], 1872, Untitled [Six California mug shots on a card], 1872, Untitled [Group of nine people], ca. 1840s, Untitled [Seated Woman], ca. 1840s, Untitled [Seated Woman], ca. 1840s, Untitled [Two Boys], ca. 1840s, Untitled [Woman Sitting in a Chair with a Boy Standing by her Side], ca. 1860, Untitled [Woman with Three Girls], ca. 1840s, Untitled [A Presentation of Lilies and Japanese Lanterns], ca. 1910, Untitled [Boy with rake], ca. 1910, Untitled [Château de Goulaine], ca. 1840, Untitled [Family in a snowy forest], ca. 1910, Untitled [Forest of Fontainebleau], ca. 1910, Untitled [Girl with red bow], ca. 1910, Untitled [Just before Kennedy was shot, Nov. 22, 1963], 1963, Untitled [Landscape with a boathouse], ca. 1910, Untitled [Lava flow, Hawaii], ca. 1920s, Untitled [Nantes, Vue Prise de la Place de la Petite Hollande], ca. 1840, Untitled [Portrait of a Male Artist], ca. 1845, Untitled [Two Apache Gaan Dancers], ca. 1900, Untitled [View of Small Objects on Shelves], ca. 1845, Untitled [Woman in Front of a Chateau], ca. 1910, Untitled, from Album of Colorado Mining Documents, ca. 1882, Untitled, 1936, Untitled, 1977, Untitled [Blind in One Eye], ca. 1850, Untitled [Maidu Boy], ca. 1850, Untitled [Older Woman], ca. 1850, Untitled [Portrait of Curtis Bolton, Jr.], ca. 1855, Untitled [Young Woman in Off-the-Shoulder Gown], ca. 1850, Untitled, 1870s, Untitled, 1964, Untitled, 1962, Untitled Plate, 1978, Untitled Plate, 1973, Untitled (Jim Brodey, Timothy Baum), ca. 1966, Untitled (Taylor Mead), ca. 1966, Untitled, 1978, Untitled [Five tattooed men], 1983, Untitled [four young men in white clothes], 1982, Untitled [Kneeling nude], 1973, printed 1985, Untitled [Man wearing underwear and stockings, leaning against white car], 1972, printed 1985, Untitled [Man with moustache in street (street person?)], 1984, Untitled [Nude crossing her arms across her body], 1970, printed 1985, Untitled [Rowdy group of men in the street], 1979, printed 1985, Untitled [Smiling woman (?) in the street], 1971, printed 1985, Untitled [Three men with cigarettes, posing in the street], ca. 1970, printed 1985, Untitled [Transvestite leaning against chain link fence], 1969, printed 1985, Untitled [Transvestites posing in the street], 1972, printed 1985, Untitled [Two men dressed as geishas], 1972, printed 1985, Untitled [Auto accident], ca. 1940, Untitled, 1953, Untitled (Man and Mirror) from the series Untitled (Kitchen Table Series), 1990, Untitled (Man and Woman with Fence), ca. 1955, Untitled, from the portfolio New California Views, 1977, Untitled, 1927, Untitled, 1926, Untitled, 1939, Untitled, 1931, Untitled, 1939, Untitled, 1936, Untitled, 1935, Untitled, 1925, Untitled (My Old Franklin), 1936, Untitled [Agave], 1932, Untitled [D 13], 1950, Untitled, 1929, 1929, Untitled (Eroded Rock, Point Lobos), 1930, Untitled ["Women washing in the patio of a tenement house"], ca. 1926, Untitled [Clouds], ca. 1924, Untitled [Tina Modotti on Stairs], 1923, Untitled [Woman and Laundry from Above], ca. 1926, Untitled [Country cottage with couple], 1856, Untitled (Vicinity of White Horse Pass, Nevada), from the portfolio Sequence 15, 1959, Untitled [Aquatic Park, San Francisco], 1949, Untitled [Oswego, New York], 1958, Untitled [Rochester, New York], 1954, Untitled, 1962, Untitled, 1962, Untitled, 1962, Untitled, 1962, Untitled, n.d., Untitled, 1977, Untitled, ca. 1963, Untitled, 1969, Untitled Street Scene, 1970s, Untitled, from the portfolio New California Views, 1964, printed 1979, Untitled, from the portfolio Women Are Beautiful, ca. 1970, Untitled, from the portfolio Women Are Beautiful, ca. 1970, Untitled, from the portfolio Women Are Beautiful, ca. 1970, Untitled, 1988-1989, Untitled (Rosy/Veuve Clicquot/Fortress Apple Cartons), 1994-1996, Untitled, 1993, Untitled (Adversary), 1989, Untitled [Half Dome, Yosemite], ca. 1910, Untitled (San Francisco), ca. 1947, Untitled, from the series The Park, 1971, Untitled, 1968, Untitled, 1968, Untitled, 1929, Untitled (Portrait of Bride in Gagry), 1931

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Mads Lynnerup was born in Copenhagen, Denmark (1976) and lives and works in Copenhagen and New York. He recently completed a MFA from Columbia University and received a BFA from San Francisco Art Institute in 2001. He has shown his work at the Schirn Kunsthalle, Frankfurt, Germany; The Mori Art Museum, Tokyo; P.S. 1, New York; Zacheta National Gallery of Art, Warsaw, San Francisco Museum of Modern Art and is in the collections of the Blanton Museum of Art, Miami Art Museum, Orange County Museum of Art and the San Jose Museum of Modern Art.

Lynnerup poses more questions than he answers. His artistic practice involves a kind of hacking activity, whereby he feeds alternative messages and prods into the information stream that, over time, we have blindly come to accept. Slightly jolted and puzzled by his message, we find ourselves prodded into reflection. Lynnerup’s perceptive gaze and pervasive humor forms the foundation of an artistic practice that likes turning things on their head. (Matthias Hvass Borello)

Please see his website for examples of his work:
www.madslynnerup.com

Our regular feature, Collection Rotation!  Every month I invite a local guest to organize a mini-exhibition or grouping from our collection works online. This month’s guest DJ? Timothy Buckwalter, painter, writer, critic, crank. I think that’s okay to say, Tim? As always, fine guest blogging, just below. Images link to collection pages. xo, SS

Feeling Yourself Disintegrate

LINER NOTES:  In 1992, shortly after moving to San Francisco, I stumbled into SFMOMA, just in time to view the Richard Prince retrospective. It was love at first sight. My twenty-something self, fresh from the East Coast, loved the smart-assness of Prince the hipster, but was smitten, at a much deeper level, with the museum itself. The permanent collection ran back only a hundred or so years in time. Everything seemed so young, the ideas so new-ish. It was like I was walking around inside myself.

Don’t get me wrong— it’s not that I hadn’t been in a serious relationship with a museum before.

As a matter of fact, I had just quit a three-year gig in the public relations department at the Philadelphia Museum of Art and knew that illustrious collection inside and out. It was just that here in San Francisco, I was surrounded by work that talked the same talk as me, not the King’s English or Latin or some other long lost language.

I mean, yeah, it’s really great to be able to connect with people from a long time ago and to know that art, having been passed down through the centuries like language, is one of humanity’s great achievements. But when I’m feeling like a loser, or I’m feeling triumphant or I’m feeling lonely, it’s super to know that I can walk through a collection in my own town that offers me the chance to be around others who are trying to explain what it means to be human right now. A chance at “feeling yourself disintegrate.”

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Agnes Martin, Falling Blue, 1963; © Estate of Agnes Martin

Sodastream with Ms John Soda: Something That We All Find, “You Can´t Always Listen To Hausmusik – But…” (Hausmusik / Morr Music GBR)

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Once a month a local guest organizes lists, groupings, or ‘exhibitions’ from our permanent collection. Our wonderful guest this month is Meara O’Reilly, sound and visual artist, invited as timely accompaniment to our current LiveArt project, Mika Tajima and New Humans.  Thanks to  Meara for a truly AWESOME rotation. Enjoy.

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Resonance and illusion games: resonant frequencies of spaces, objects, and humans, and illusions that arise out of play.

In my own research, I try to find a disputable balance between scientific and subjective perception. I’m interested in the idea of learning as a beautiful physical experience or performance or even a game—creating a situation where individual perception of a piece can be as much a part of the process as the artist’s intent or an objective material-based truth.

Josef Albers stated this elegantly: “Experience teaches that in [visual] perception there is a discrepancy between fact and psychic effect.” I’d like to pair this with something of John Cage’s  I read many years ago, where he talked about music as anything that improves audition (the process of hearing). To me, each of these statements poses a similar challenge—to create experiences that both trick and heighten our senses.

In the study of acoustics, every material or space has a set of resonances or frequencies at which it most easily vibrates. An opera singer’s high note shattering a glass may be an old wives’ tale, but the image is indelible. Sound becomes a new and heightened quantity, a visual and tactile event.  In a film of a recent performance by the New Humans, a car resting on a sheet of glass is amplified and destroyed in the factory of its origin. Every strike of the sledgehammer and crack of glass is sonically fortified; the car sounds as though it is being dismantled by its own resonance.

To me, finding the resonant frequencies of an object or space is akin to creating a sound mirage of its dimensions. Auditory illusions also show us how we can perceive tonal information as something other than the sum of its parts. Illusions are, in general, experiences that arise out of bilateral symmetry (the fact that humans have a mirrored pair of almost everything—two ears, two eyes, etc) and the interactions or miscommunications that occur between halves. Our sense of spatiality and depth is entirely ruled by these pairs—finding our way in the dark, we calculate locations of obstacles by the different amounts of time the sound reflections take to reach each ear; when climbing a set of stairs the interactions between our eyes allow us to know the depth of the step we must take.

Many of the artists I have selected defy perceptual boundaries in some way, or use materials in a manner that demands a combined sense, or synaesthesia, of the perceiver. I tried to pick works that leap out of their medium or intended coordinates of perception: sculptures or spaces that beg to be sung into; paintings that shimmer or hover above canvas; bodies that just can’t seem to get comfortable; stereo-view photographs that coax our binocular vision into three dimensions. Then I paired them with musical compositions and practices that also ride along the boundaries of perception. Whether ‘playing’ scissors, or resonating the inner ear of the listener so that it actually begins to emit sound, these artists work in illusions.

Adolphe Braun, Oberland Bernois, Switzerland, n.d.

“How May Your Parents and Your Employer Help You In Your Cricket Career?” Chris Corsano, The Young Cricketer, FamilyVineyard 2008

All the old albumen print photographs are incredible to me, simultaneously tactile and ephemeral—ah, to be made out of egg white, and salt, and silver, and sunlight! They remind me of a recent NY Times story about a newly blind painter who wanted to paint again so badly he learned to tell colours apart by the weight of the various pigments in his hands. Chris Corsano’s drumming reminds me of that kind of dedication to the transmutability of materials. Without any amplification, overdubs or effects he seems out to find the resonant frequency of every object he touches, listening as much as he performs. I’d love to hear what the inside of this cave sounds like….

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[Our regular feature, "Collection Rotation". A local guest organizes a mini-exhibition from our collections pages online. Today's guest is CHUCK MOBLEY, curator at San Francisco Camerawork, right next door.  Almost all the musical guests have local connections to SF. Pictures link back to collection pages. Thanks Chuck!] ————————————————–
An imaginary studio apartment in The Tenderloin in two inadequate descriptive systems

The SFMOMA collections website interface is like a store, but better. It’s like a thrift store where you never know what you’ll find. Surprise makes shopping fun! This is partly why if I ever have to shop I shop at Goodwill or online. So, basically I just went shopping for my apartment in the Tenderloin by looking up items tagged “functional,” though I did pick some inessentials as well, mostly for inspiration. In these inflationary times it’s better to just imagine shopping than to actually shop. I only chose very practical things because I’m a very pragmatic person. Also, since my neighborhood has not been gentrified, I tried not to be too conspicuous in my imagined consumption. I chose stuff that doesn’t look like it’s worth much or that I can hide in my pocket easily.

As for the song pairings, I’d like to think they’re self-evident so I won’t go into that. However, I’ve included links for each band in case anyone is interested.

Tom Sachs, Knoll Loveseat and End Table, 1996

Reading Rosalind Krauss, by The Size Queens, Our Literal Speed

I like the way Tom Sachs thinks. I returned home from work the other day to find a gigantic phone book outside my door and I thought to myself with some disgust: “Who uses these anymore?” This artist clearly knows it’s good to recycle useless stuff! Plus it’s better to have knock-offs than the real thing: if there’s a fire or some kind of catastrophe you wouldn’t feel terrible about this burning up because you could just make a new one.

The Size Queens’ songs are all part of the Our Literal Speed soundtrack. See also: myspace.com/thesizequeensband

[click through for more!] (more…)

[Our regular feature, "Collection Rotation". Once a month I invite a local guest to organize lists, groupings, or 'exhibitions' from our permanent collection. To coincide with the opening of William Kentridge's direction of the Monteverdi opera The Return of Ulysses, I asked San Francisco Opera General Director David Gockley to pair bits of opera with a selection of images I sent over. Many thanks to Jon Finck and Kip Cranna and everyone at the SF Opera who collaborated on this fabulous rotation. Note: Listen loud. And, images link back to collection pages, in case  you'd like more info.]

James Nachtwey, Untitled, n.d. Photograph | chromogenic print.  © James Nachtwey

Richard Wagner: Die Walküre (The Valkyrie), “The Ride of the Valkyries.” Performed by the San Francisco Opera Orchestra, conducted by Donald Runnicles

There is an electrifying buzz of excitement in the air as Wotan’s warrior-maidens swoop across the sky on their way to collect fallen heroes from the battlefield, soaring above as in the gravity-defying somersaults of these performers.

Liu Wei, Swimmers, 1997. Painting | oil on canvas. Gift of Vicki and Kent Logan © Liu Wei

Vincenzo Bellini: Norma Duet, “Mira, o Norma” Performed by Catherine Naglestad (Norma) and Irina Mishura (Adalgisa), with the San Francisco Opera Orchestra conducted by Oleg Caetani

Moving in perfect, serene synchronization like these elegant swimmers, Norma and her confidante Adalgisa sing in perfect harmony as they swear to be true and faithful friends, never letting a man come between them.

Alfred Stieglitz, Dorothy Norman, 1932. Gelatin silver print. Gift of Georgia O’Keeffe

Giacomo Puccini: Suor Angelica (Sister Angelica), “Senza Mama.” Performed by Leona Mitchell, with the San Francisco Opera Orchestra conducted by Nello Santi

Forced to enter a convent after bearing a son out of wedlock, Sister Angelica mourns at the news that her little boy has died: “You died without your mother, not knowing how much I loved you!”

Brian Alfred, Untitled (Computer), 2000. Mixed media on paper. © Brian Alfred

Charles Gounod: Faust, “A moi les plaisirs!” Performed by Richard Leech (Faust) and Samuel Ramey (Mephistopheles), with the San Francisco Opera Orchestra, conducted by Patrick Summers

Faust, the aged, lonely scholar bent over his desk, disillusioned and weary of his fruitless studies in search of knowledge and wisdom, casts aside his work and excitedly cries out for a new life: “Give me youth, desire, ecstasy, pleasure!” The demon Mephistopheles eggs him on.

Fletcher Benton, Synchronetic C-3300, 1966. Aluminum, acrylic, and Plexiglas with electrical apparatus. Gift of Mr. and Mrs. William C. Janss, © Fletcher Benton

Giuseppe Verdi: Il Trovatore (The Troubadour), “The Anvil Chorus.” Performed by the San Francisco Opera Chorus and Orchestra, conducted by Marco Armiliato

The ringing and clanging of bright shining metal resounds as the gypsies hammer away at their anvils, fashioning polished steel to the sounds of their singing.

Richard Diebenkorn, Ocean Park #54, 1972. Oil on canvas. Gift of Friends of Gerald Nordland © Estate of Richard Diebenkorn

Giacomo Puccini, Madama Butterfly, “The Humming Chorus.” Performed by the San Francisco Opera Chorus and Orchestra, conducted by Donald Runnicles

Subtly shifting colors streak across the sky, turning it purplish and then grey as night falls, and the humming of unseen voices accompanies Miss Butterfly’s vigil as she awaits the dawn and the arrival of her beloved.

Henri Matisse, Femme au chapeau (Woman with a Hat), 1905. Oil on canvas. San Francisco Museum of Modern Art, Bequest of Elise S. Haas © Succession H. Matisse, Paris / Artists Rights Society (ARS), New York

Giacomo Puccini: La Bohème, “Quando me’n vo’”, Performed by Norah Amsellem, with the San Francisco Opera Orchestra, conducted by Nicola Luisotti

Like Matisse’s high-fashion lady in her trendy hat, the high-spirited flirt Musetta prances on the arm of her rich sugar daddy, telling how she loves the admiring glances of men who seem to be undressing her with their eyes.

[This month's Collection Rotation features a selection of SFMOMA works paired with songs by Bay Area bands, organized by Chris Appelgren & the fabulous people at Noise Pop. If you're checking in from outside the Bay, SF's Noise Pop Festival is one of the nation's most popular annual independent music events, and what started off as a one-night, one-off event at a dingy local club in1993 now showcases 100-plus bands in over 10 venues over the course of six days.  This year's festival starts TOMORROW & marks Noise Pop's 17th anniversary.]

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LINER NOTES: Despite the scope and history of the festival, Noise Pop is still produced by a small staff along with a dedicated army of volunteers. This means that everyone is able to play a meaningful role in selecting the performers, filmmakers and artists whose work we celebrate the last week of February each year and as a result we are all exposed to incredible amounts of local music talent. The San Francisco music community is a moving target with amazing and diverse talents. I selected a handful of songs by local bands that for me enriched the experience of these pieces from SFMOMA’s permanent collection.

–Chris Appelgren

Craig Hodgetts and Hsin Ming Fung, Untitled, 1989; ink and electrostatic print on paper; 5 9/16 in. x 7 3/4 in. (14.13 cm x 19.69 cm); Collection SFMOMA, commissioned for the exhibition: Visionary San Francisco; © Hodgetts + Fung

Magic Me, “Pink Howitzer Blues”, from EP 2

The red, black and grey-pink colors and urgent lines of Hodgetts + Fung’s drawing seem to mirror the frayed tone, sketched looseness, & warm angularity of Magic Me’s “Pink Howitzer Blues.” The song and image share the same anxiety and desperation to me.

Jacob Jenson, Beosystem 5500, 1986; plastic, metal, and other materials; various dimensions; Collection SFMOMA, gift of Jeffrey Fraenkel; © Bang & Olufsen

Honeycut, “Exodus Honey”, from The Day I Turned To Glass, Quannum Records

Jacob Jenson’s Beosystem, with its bold, future-facing simplicity suggests the promise of a clean, beautiful, and enjoyable tomorrow. Honeycut’s “Exodus Honey” seems the fulfillment and extension of that promise, with intertwined electronic and analog melodies, bouncing rhythms and winking lyrics like “Stop the war / But I still want to have my car / So I can drink and drive / I can’t believe that I am still alive.”

Jasper Johns, Land’s End, 1963; oil on canvas with stick; 67 in. x 48 1/4 in. (170.18 cm x 122.56 cm); Collection SFMOMA, gift of Harry W. and Mary Margaret Anderson; © Jasper Johns / Licensed by VAGA, New York

Or, The Whale, “Call and Response”, from Light Poles and Pines, Seany Records

Or, The Whale’s twangy harmonies are vengeful spirits that declare “We’re headed back to New Orleans / Cuz starting now the world begins / And all our lives were lost in vain / Now they’ve got more to fear than a hurricane.” New Orleans, in the song, is a very literal Land’s End.

Richard Serra, Right Angle Plus One, 1969; lead antimony; 48 in. x 48 in. x 1 in. (121.92 cm x 121.92 cm x 2.54 cm); Collection SFMOMA, purchased through a gift of the Modern Art Council, Fund of the 80s and Board Designated Accessions Funds; © 2009 Richard Serra / Artists Rights Society (ARS), New York

Thee Oh Sees, “Iceberg”, from The Oh Sees Suck Blood, Castle Face Records

Bay Area native Richard Serra’s Right Angle Plus One is reminiscent of the giant, otherworldly steel mills of Oakland and Emeryville (where bright shiny shopping centers now reside). Serra worked in the steel mills while attending UC Berkeley in the 60’s. San Francisco’s Thee Oh Sees’ song Iceberg suggests a cold, unyielding monolith in echo-chamber boy/girl whispers.

John Beasley Greene, Tombeau de la chrétienne [Tomb of the Christian Woman], 1856; albumenized salt print; 10 3/8 in. x 12 1/16 in. (26.35 cm x 30.64 cm); Collection SFMOMA, Accessions Committee Fund purchase

Papercuts, “John Brown”, from Can’t Go Back, Gnomonsong Records

John Beasley Greene’s “Burial Mound” photograph was taken in 1856, the same year that American Abolitionist John Brown, who remains controversial today, may or may not have participated in the vicious murder of five pro-slavery settlers in Kansas. The simple, stark memorial to the dead in Greene’s photo seems a message to the future that nothing is permanent. The Papercuts’ song also reminds us that we cannot outrun history.

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Chris Appelgren is the marketing director and general manager of Noise Pop Industries, responsible for producing the Noise Pop and Treasure Island Music Festivals. He is also the owner of Lookout Records, the Northern California record company responsible for albums by Operation Ivy, Green Day and The Donnas. Chris was president of the label from 1997 to 2005 where his duties included art direction. Chris has created original artwork and album designs for bands including Blatz, Green Day, The Donnas, The Queers, Ted Leo & The Pharmacists and Pretty Girls Make Graves. You can read an interview with him here.]

[Our regular feature, "Collection Rotation". Every month or so I invite a local guest to organize lists, groupings, or 'exhibitions' from our permanent collection. Our wonderful guest this month is Bay Area artist Tucker Nichols.][Note: clicking through on the images will take you to our collection pages, with more info on art and artist.]

Ten Natural Pairs
Collected by Tucker Nichols

Creating an online exhibition from SFMOMA’s permanent collection carries the luxury of choice without the hassles of scheduling or installation. The options are seemingly endless. Rather than come up with an idea and then hunt for fitting examples, I decided to take an afternoon to look at every image in the permanent collection available online. When something jumped out at me, I saved it in a folder. I didn’t think about what I was collecting or why. When I went back to look at the folder, natural pairs formed before my eyes. It was kind of eerie, really — every image found a partner for one reason or another.

Why is the most basic organizing principle to put like things with like things? What does it do for us? I can only guess that there are simply too many things in the world. It’s beyond our comprehension to take them all in. But when we group similar objects, we can begin to digest them. It’s why we have the cereal aisle — a typical US supermarket would be even more overwhelming if we didn’t organize everything by shared attributes. Once we’re able to look beyond the volume, we can start to see what’s there. The group below represents ten of the pairs that formed in my folder.

Pair of torsos

Left: John Coplans, Self-Portrait (Back with Arms Above), 1984, gelatin silver print. Right: Robert Gober, Untitled, 1990, beeswax, pigment, and human hair

Pair of transcendent whites

Left: Hiroshi Sugimoto, Canton Palace, Ohio, 1980, gelatin silver print. Right: Robert Ryman, Untitled [E], 1965, enamel on linen

Pair of instantaneous artworks

Left: Marcel Duchamp, Fountain, 1917/1964. Glazed ceramic with black paint. Right: Bruce Nauman, Study for Hologram, 1970. Screen print on Kromekote paper.

Pair of photographs as sculpture

Left: August Sander, Bricklayer, 1928. Gelatin silver print. Right: Felix Gonzalez-Torres, Untitled, 1992/1993. Offset print on paper (endless copies) © The Felix Gonzalez-Torres Foundation, Courtesy Andrea Rosen Gallery, New York

Pair of surveillance photographs

Left: Mitch Epstein, Untitled, New York 1996, 1996. Chromogenic print. Right: Todd Hido, Untitled #2027-A, from the series House Hunting, 1996-1998. Chromogenic print

Pair of photos of the planet

Left: William Anders/NASA/Michael Light, Earthrise Seen for the First Time By Human Eyes, 1968/1999, digital chromogenic print. Right: Bill Owens, World Savings opening day 1975, 1975, gelatin silver print.

Pair of Memphis Egglestons

Left: William Eggleston, Untitled, Memphis, 1970, 1970, dye transfer print. Right: William Eggleston, Untitled, Memphis, 1970, 1970, dye transfer print.

Pair of editing as artwork

Top: Christian Marclay, Video Quartet, 2002, four-channel video projection with sound. Bottom: Tauba Auerbach, Alphabetized Bible, 2006, offset lithograph

Pair of circles of identical white objects

Left: Richard Long, Chalk Circle, 1986, chalk. Right: Rody Graumans, Chandelier 85 Lamps, 1993, lightbulbs, cords, and sockets

Pair of mildly depressing photographs of life in America

Left: Mitch Epstein, Amos Power Plant Raymond, West Virgina, 2004. Chromogenic print. Right: Larry Sultan, Practicing Golf Swing, 1989. Chromogenic print.

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Tucker Nichols is the artist behind www.anonymouspostcard.org. He is represented by ZieherSmith Gallery in New York. For more information see www.tuckernichols.com

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[A special election-week Collection Rotation by San Francisco-based artist & curator Chris Sollars, whose experimental documentary C RED BLUE J will be screening in the Wattis theater Nov 4. All works collection SFMOMA & listed in detail at the bottom of this post.]

At Home in Red & Blue Brother Sister America

Growing up, my sister Jennifer was Red and I was Blue, between the colors of objects in our rooms, beds, clothes, and backpacks. Looking back, I think it’s strange that growing up during the 70s and 80s Reagan’s Republican America appropriated Socialist RED from the USSR.

The opening dream of my recent film C RED BLUE J was a playful way to study the color red used in politics: A Red Phone rings and alerts us of the Enemy—the British Red Coats, The Red Man (not Karl Marx, but he is next), Soviet Red, Red China—and is intercut with a Red finger painting from my childhood, Pete Rose of the Cincinnati Reds, and Red USA Olympic Athlete Jackets. The USA Formal Athlete Jackets, ironically, are from the 1984 Los Angeles Olympics, boycotted by the Soviet Union. I almost think it was a conscious decision to appropriate the “Enemy’s” color as a way to diffuse or re-appropriate it.

In the title C RED BLUE J,  C is for Christopher, J is for Jennifer and the RED & BLUE is between us. It also is a play on words: to See a Red Blue Jay, something you would never see but could imagine. Here to coincide with the election I am using C RED BLUE J as a model and method for selecting works from the SFMOMA collection.

I’ve squeezed some of my favorite artists from the collection into the mix. Gordon Matta-Clark, Hans Haacke, Pipilotti Rist, Phillip Guston, Robert Gober, and Edward Kienholz. New favorites from recent visits include Untitled [Man holding eagle with spread wings] and Tim Gardner’s Untitled (S with Mt. Robson). (Not only is “S” holding a Mt Beer can in front of a mountain, the beer is a BUScH!)

I’ve included Nauman’s Study for Hologram, in part because of his influence (along with William Wegman’s)  both on my work and my voice in C RED BLUE J.  There my voice is presented by cutting back and forth between close-ups of my eyes and mouth while talking. Here, Nauman’s Study suggests to me ideas of self-censorship in America. Friedlander’s House on Highway and Gordon Matta-Clark’s Splitting (one of my favorite works of all time) have changed for me, both from reconsidering the construction and deconstruction of my childhood homes, and since the housing market collapse. It’s great that these works are so accessible and constant but continuously shifting and changing in meaning as the world does.

The personal narrative in this sequence of works is further activated for me through the inclusion of children. Boys and Girls as Brother and Sister add a playfulness to the RED & BLUE pairings. This also allows for my sister and I to be included in the series of works selected from the collection.

Enjoy,

Chris Sollars

[Works, in order of appearance: Mathew B. Brady, Untitled (Portrait of a Brother and Sister) ca. 1850; Ellsworth Kelly, Blue/Red-Orange, 1970-1972, © Ellsworth Kelly; Bill Owens, 4th of July Parade, Livermore, California, 1970s, © Bill Owens; Hans Haacke, Blue Sail, 1964-1965, © 2008 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn; Unknown, Untitled [Baby on Red Velvet Chair] ca. 1870; Ann Hamilton, Indigo Blue, 1991/2007, © Ann Hamilton; Barry McGee, Untitled, 1996, © Barry McGee; Thomas Frederick Arndt, Inauguration Parade, Washington, D.C., January 20, 1989, 1989, © Thomas Frederick Arndt; Tim Gardner, Untitled (S with Mt. Robson), 2002, © Tim Gardner; Pipilotti Rist, Stir Heart, Rinse Heart, 2004, © Pipilotti Rist; Philip Guston, Blue Light, 1975, © Estate of Philip Guston; Shiro Kuramata, Cappellini, Manufacturer, Revolving Cabinet, 1970; Rineke Dijkstra, Odessa, Ukraine, August 4, 1993, 1993, © Rineke Dijkstra; Bill Owens, Tidy Bowl, Walnut Creek, 1979, © Bill Owens; Anna Atkins, Ceylon, ca. 1850; Edward Kienholz, Tomorrow’s Leaders Are Busy Tonight, 1961, © Edward Kienholz Estate; William Heick, Thomas, Red Arrow Dump, 1949, © William Heick; Robert Gober, Rat Bait, 1992, © Robert Gober, Courtesy Matthew Marks Gallery, New York; Gerhard Richter, Spiegel, blutrot (Blood Red Mirror), 1991, © Gerhard Richter; Robert Gober, Newspaper, 1992, © Robert Gober, Courtesy Matthew Marks Gallery, New York; Karim Rashid, V-Soul, 1999, © Karim Rashid; Emmet Gowin, Elijah and Donna Jo, Danville, Virginia, 1971, © Emmet and Edith Gowin, courtesy Pace/MacGill Gallery, New York; Bruce Nauman, Study for Hologram, 1970, © 2008 Bruce Nauman / Artists Rights Society (ARS), New York; Lee Friedlander, Colorado, 1967, © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco; Lee Friedlander, House on Highway, 1975, © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco; Gordon Matta-Clark, Splitting,1974, © 2008 Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York; Unknown, Untitled [African American Woman with Two White Children], ca. 1860; Alexander Girard, Salt and Pepper Shaker for La Fonda del Sol Restaurant, New York, ca. 1960; Unknown, American, Untitled [Man holding eagle with spread wings] * n.d.]

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Chris Sollars‘ work revolves around the reclamation and subversion of public space through urban interventions, the results of which are integrated into mixed media video installations. Chris is also director and curator of 667Shotwell, which he started in 2001, during the wake of disappearing San Francisco art-spaces. The recently completed C RED BLUE J is an experimental documentary featuring his sister, who works for the Bush Administration, his Born Again father, and his Lesbian mother to illustrate the complications of division during the 2004 Presidential election.

[Our regular feature, "Collection Rotation". Once a month I invite a local guest to organize lists, groupings, or 'exhibitions' from our permanent collection. Our guest this month is KALX DJ and local blogger Heidi De Vries, who has spoiled us with a very personal look at some of her favorite works. She includes notes about her selections along the way. Thanks, Heidi! P.S.! Heidi! Thanks!] ——–

Liner Notes

For my Collection Rotation I picked artworks that I remember from my countless visits to SFMOMA over the last decade as having strong emotional resonance for me, and then linked those pieces to music tracks that summon similar feelings. The Janet Cardiff and the Christian Marclay (below) have their own integral soundtracks already, so those I left “blank”. Otherwise while I explain below why I selected a particular piece of art, I’m just going to let the accompanying music speak for itself.

It was in Barbara Hepworth’s sculpture garden in St Ives, England, at the very end of my teenage years that I truly connected to modern art for the first time, in a moment that was nothing less than epiphany. I still get a residual thrill down my spine every time I run into one of her pieces:

Barbara Hepworth, Landscape Sculpture, 1944/196. Bronze and string. Collection SFMOMA

Sigur Rós: “Glósóli” from Takk…, Geffen 2005

My awesome and super-smart physicist grandfather worked on the Manhattan Project during World War II, and since I’ve been old enough to reason I’ve been aware of the moral ambiguities surrounding what he was asked to do by his government. Chris Burden nails the horror and confusion of the birth of the atomic age at the same time that he tries to set some order to it. Victory is in there, but it’s pretty darn close to the bottom:

Chris Burden, The Atomic Alphabet, 1980.  Photoetching, soft-ground etching, and watercolor on paper. Collection SFMOMA

Crystal Castles: “Untrust Us” from Crystal Castles, Last Gang 2008

I can relate to the worried faces of McGee’s sad sack characters, and as someone who loves to roam city streets the references in his work back to his roots in graffiti and street art make me very happy. His wife, the late Margaret Kilgallen, is also my favorite artist ever.

Barry McGee, Untitled, 1996. Mixed media installation. Collection SFMOMA

Tom Waits: “Widow’s Grove” from Orphans: Brawlers, Bawlers & Bastards, Anti 2006

Marclay brings together three of my great passions: music, art, and film. And with some devastatingly good editing too. It almost seems cruel to include this one on a blog where you can’t see it in motion or hear it, so next time it goes on display I highly recommend making a special trip. In the meanwhile, there’s an unauthorized bootleg shot at Tate Modern over at YouTube.

Christian Marclay, Video Quartet, 2002. Four channel video projection with sound. Collection SFMOMA

I very much admire Hesse’s fearlessness, especially in her use of unconventional (and dangerous!) materials, and I love the metaphors she draws between architectural forms and the body. She is an absolute inspiration:

Eva Hesse, Sans II, 1968. Fiberglass and polyester resin. Collection SFMOMA

Magazine: “A Song from Under the Floorboards” from The Correct Use of Soap, Virgin 1980

Another piece to be experienced in person, Cardiff leads the listener into an immersive and wonderfully disorienting mini-tour of SFMOMA using her voice and a video camera as guide. I’ve done it many times and my heart still stutters during the part in the employee stairwell, as menacing footsteps approach…

Janet Cardiff, The Telephone Call, 2001. Audio and video walk through the San Francisco Museum of Modern Art. Collection SFMOMA

[Nota Bene: Janet Cardiff's piece will be available again as part of the upcoming Art of Participation exhibition, starting Nov 8--SS] The voyeuristic aspect of watching Kiarostami’s film of a sleeping couple is completely seductive to me, as in real time they move together and then apart in a rhythm uniquely their own. Simultaneously sexy and sweet, part of the allure of the piece comes from the fact it is projected onto what looks like a bed, right on the floor of the gallery:

Abbas Kiarostami, Sleepers, 2001. Single channel video projection on white thin rubber, tarp, or sheet. Collection SFMOMA. © Abbas Kiarostami

His Name Is Alive: “Where Knock Is Open Wide” from Mouth by Mouth, 4AD 1992

Everything Richter does is amazing to me, both his photorealistic paintings and his more abstract work. One of my cats is named Richter after him (the other one is named Cardiff after Janet):

Gerhard Richter, Lesende (Reading), 1994. Oil on linen. Collection SFMOMA

Angels of Light: “Kosinski” from Everything Is Good Here/Please Come Home, Young God 2003

A fellow Dutchwoman, Dijkstra’s photos of young people on the beach reference the lighting and poses of Renaissance painting at the same time that they capture that totally awkward moment between childhood and modern adulthood. My godchild Sophie is rapidly approaching this moment herself, so I’ve been thinking a lot about how best I can help her through:

Rineke Dijkstra, Hilton Head Island, SC USA, June 24, 1992, 1992. Chromogenic prin. Collection SFMOMA.

Caesars: “Fun and Games” from 39 Minutes of Bliss (In an Otherwise Meaningless World), Astralwerks 2003

No actual body here, just the imprint of Mendieta’s form. Her work always makes me think of the intangibility of what we leave behind after we’re gone:

Ana Mendieta, Untitled, from the series Silueta Works in Iowa, 1978. Gelatin silver print Collection SFMOMA.

Wire: “Ahead” from The Ideal Copy, Mute 1986

Time marches inexorably forward as Miyajima’s long line of LED-light counter numbers roll over, some fast and some very slow. You know what number will follow another number but not necessarily when, and it is totally my personality to stare at a particularly stubborn counter and will it to move:

Tatsuo Miyajima, Counter Line, 1997. 224 red LEDs, 6 aluminum rails, 6 transformers, and connecting wire. Collection SFMOMA.

k-os: “The Love Song” from Joyful Rebellion, Astralwerks 2004

This video consists of a single shot of a cat drinking a bowl of cream, absolutely brilliant in its simplicity. I don’t remember a soundtrack beyond perhaps a gentle lapping of milk; I thought here it would be OK to add a little Trenet. The first time I saw the piece there was a small boy in the room watching with me, and as soon as the cat finished its bowl he threw his hands up in the air and declared happily: “All done!”

Peter Fischli and David Weiss, Busi (Kitty), 2001. Single-channel video with sound. Collection SFMOMA.

Charles Trenet: “Boum!” from Y’a D’la Joie, Chanson Francaise 1997

[Heidi De Vries works in media production by day and spends all her extracurricular time soaking up art and culture in the Bay Area and cities around the world. She is also a volunteer DJ at KALX Berkeley 90.7fm and is currently on the air Sunday afternoons 3-6pm. You can also find her at her blog, Engineer's Daughter.]

[Our regular feature, "Collection Rotation". Once a month I invite a local guest to organize lists, groupings, or 'exhibitions' from our permanent collection. Our fabulous guest this month is Carson Bell, Curatorial Specialist at the California Library of Natural Sounds, at the Oakland Museum. Wait til you see/hear what he's done for you! He includes notes about his selections along the way. Thank you, Carson!] ——–

Liner Notes: When I was four years old I picked up the wonderfully colored and detailed Sgt. Pepper’s Lonely Hearts Club Band album from my parent’s record collection and stared at the cover. My tiny hands fumbled as I flipped the record over and over, playing it for hours on end. Since that moment the relationship between sound and image has played an important role in my life. The chance to pair works from the impressive SFMOMA collection with audio recordings from the California Library of Natural Sounds is incredibly exciting for me. While recording music or ambient sounds I am constantly visualizing cinematic images to accompany the audio. The following Collection Rotation is my attempt to use works of art as album covers for my ‘7″-singles collection’ of sounds from the natural world.

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The Northern Elephant Seal is my favorite California mammal. The male Elephant Seal makes wild vocalizations with his large nose, or proboscis, when he fights with other males for the attention of females. Gorky’s Enigmatic Combat immediately brings to mind the chaotic and humorous sounds of an Elephant Seal harem.

Arshile Gorky, Enigmatic Combat, 1936-1937, Collection SFMOMA, and the Northern Elephant Seal

This haunting image of Man Ray’s Untitled (Rayograph) seems to buzz like the strange electronic sound made by the Varied Thrush. The Thrush produces sounds from a divided vocal box, or syrinx, which is separated into two chambers. The birds can control each side separately.

Man Ray, Untitled (Rayograph), 1920s, Collection SFMOMA, Gift of Robert Shapazian

Ruge’s parachute photo gives the viewer a spectacular view of flight, much like a male red-tailed hawk. The hawk will go into a sudden, steep nosedive during his courtship display, while making a raspy cry. Each expresses its movement with dramatic effect.

Willi Ruge, Aviation, ca. 1931, Collection SFMOMA, Accessions Committee Fund

Peregrine Falcons have been known to nest on man-made structures like bridges. Two of the most famous Peregrines, George and Gracie, chose to nest on the Bay Bridge in 2007.

Joseph Stella, Bridge, 1936, WPA Federal Arts Project

The Hermit Thrush’s song is an echoing, fluty warble that helps the male project his message. The dizzying quality of Sheeler’s Aerial Gyrations instantly reminds me of the Hermit Thrush call.

Charles Sheeler, Aerial Gyrations, 1953, Collection SFMOMA, Mrs. Manfred Bransten Special Fund purchase

Like Eggleston’s brilliant photo brimming with red, the male Red-winged Blackbird shows off his striking red shoulders. The Red-winged Blackbird’s vibrant red coloring and loud, raucous song are used to defend his territory and attract a mate.

William Eggleston, Untitled, Greenwood Mississippi, 1973 1973, Collection SFMOMA, Gift of a friend of the Museum

In my opinion, the Lazuli Bunting not only has the best name in the bird world, but is also one of the most striking-looking. Diebenkorn’s Berkeley #57’s wonderful mix of blues and yellows immediately reminds me of the Bunting’s beauty.

Richard Diebenkorn, Berkeley #57, 1955, Collection SFMOMA

Bison shakes the alphabet.

Jack W. Stauffacher, Untitled, from the series, Shifting and Inking, 1967

All recordings © California Library of Natural Sounds and the Oakland Museum of California.

——————- Carson Bell is the Curatorial Specialist for the California Library of Natural Sounds (CLNS) located at the Oakland Museum of California. Carson is a graduate of the California College of the Arts with a degree in Film and Video. He has worked in the music industry for over ten years, writing, producing records, and performing for Bay Area acts The Pattern and The Cuts, and has toured as a session musician for New York-based band The Mooney Suzuki. Carson is currently working on developing interactive media exhibits for the Oakland Museum of California and recording natural sounds for the CLNS collection.

[Our regular feature, "Collection Rotation". Each month or so I invite a local guest to organize lists, groupings, or 'exhibitions' from our permanent collection. This is our second installment, devised by artist & curator Karla Milosevich, who includes notes about her selections along the way. Thanks Karla!]

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LINER NOTES: When invited to put together a group from the collection, I thought of what a neighborhood florist once said, “Everything matches.” And the chef Giada De Laurentiis, granddaughter of film producer Dino De Laurentiis, who said, “Don’t be careful, just throw it all in.” This is that kind of collection. There is no real rhyme or reason, just artists or things that appeal to me. I hope you enjoy it. –KM

—-When this photo was taken in 1979, I lived 80 miles from here:

Franz Gohlke, Wichita Falls, Texas, April 14, 1979, Looking Northeast, 1979

—-I searched the online collection for all things American Indian, since they too once roamed that area of Texas. I also searched for aliens, UFOs, and other things supernatural:

Jo Baer, Untitled, 1964-1972

Maximilian Franz Josef Cornelius Wolf, The Milky Way, c. 1900

Maximilian Franz Josef Cornelius Wolf and Johann Palisa, Star Map, from the album Photographische Sternkarten (Photographic Star Maps), 1903

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—-I love Martin Kippenberger!—-

Martin Kippenberger, Untitled, 1991

(I am particularly fond of his self-portrait drawings on hotel and mental hospital stationery.)

Martin Kippenberger, Untitled, 1990

Martin Kippenberger, The Raft of the Medusa, 1996.

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Check him out posing for an etching in this video shot in 1977. —So cute!

[Anglik Riemer does some drawing for an etching portrait of Martin Kippenberger in her studio (1977)]

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—-Mind mirror!—-

Dan Graham, Opposing Mirrors and Video Monitors on Time Delay, 1974/1993

—-Rise like a Phoenix, Katharina Sieverding:

Katharina Sieverding, Transformer, (installation/eight slide projections), 1973/1974

© 2008 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

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I thought about this song when thinking about Jeremy Blake and how he disappeared into the ocean:

“I’ve just closed my eyes again
climbed aboard the dream weaver train.
Driver take away my worries of today
and leave tomorrow behind.

Oh dream weaver
I believe you can get me through the night.
Oh dream weaver
I believe we can reach the morning light.

Fly me high through the starry skies
maybe to an astral plane.
Cross the highways of fantasy.
Help me to forget today’s pain.

Though the dawn may be coming soon
there still may be some time.
Fly me away to the bright side of the moon and meet me on the other side.”

Jeremy Blake, 1906, from the Winchester series [video with sound/digital animation with sound], 2003

Gary Wright, “Dream Weaver”, from The Dream Weaver, Warner Bros., 1975

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Karla Milosevich is an artist and curator living in San Francisco. She is currently working on a music project and running the Right Window art space with friends.

[As a timely intermission here in the middle of the JUNE ALEXANDERPLATZ onslaught, we introduce a new regular feature. Each month or so we'll ask a local guest to organize lists, groupings, or 'exhibitions' from our permanent collection, to be presented here on the blog. For our first installment, I invited two long-time Bay Area artists, Scott Hewicker and Cliff Hengst, who are also musicians, record collectors, and DJs, to select their favorite works and pair them with song clips, a permanent-collection "playlist", our first "Collection Rotation." It's fantastic! You will very much enjoy. Many thanks to Scott and Cliff. A teaser sample just below. Click through HERE to see & hear the full rotation. xo, SS]

Susan Meiselas, Lena on the Bally Box, Essex Junction, Vermont, from the series Carnival Strippers, 1973

Edwyn Collins: “A Girl Like You” Setanta Records, 1994