Pivotal Highlights from the Collection

Abstraction/Perception

Richard Diebenkorn, Ocean Park #36, 1970

Helen Lundeberg, Sloping Horizon, 1960

Josef Albers, Homage to the Square, Dry Season, 1967

Frederick Hammersley, Come, 1963

Billy Al Bengston, Tom, 1968

Patrick Wilson, Insomniac, 2010

Uta Barth, Ground #33, Ground #30, Ground #51, 1994-1995

Aaron Siskind, Homage to Franz Kline (Rome #6), 1973

Sol LeWitt, Incomplete Open Cube (8-18), 1974

John McCracken, Nine Planks I, 1974

John McCracken, Black Resin Painting I, 1974

Joel Morrison, Odium, Black, 2004.

Miriam Schapiro, Arbor, 1967

Larry Bell, Untitled, 1965

Mary Corse, Light Painting Grid Series, 1970

Carl Andre, Concrete Uncarved Blocks,1976

Craig Kauffman, Untitled, 1968

Robert Irwin, Untitled (#2220), 1969

The Constructed World

Nathan Oliveira, Italian Sentinel, 1959

Bruce Conner, Bedroom, 1959

Betye Saar, Miz Hannah's Secret, 1975

Edward Kienholz and Nancy Reddin Kienholz,

End of the Bucket of Tar with Speaker Trail No. 2, 1973

Joe Goode, One Year Old, 1961

Tim Hawkinson, Concentric Circle: 705 Year-Old Tree Drawing, 1989

Charles Ray, Self-Portrait, 1990

Charles Gaines, Numbers And Trees X #4, Red Violet January, 1991

Walead Beshty, Island Flora #4 (Rte. 110 and Rte. 10 Interchange), Island Flora #6

(Rte. 101 South Bound), and Island Flora #9 (Rte. 5 and Newhall Interchange)

from the series "Terra Incognita," 2005

Bryce Bischoff, #16 from Glassell Park series, 2012

Ed Ruscha, Pine Setting, 1988

Jennifer Steinkamp, Moth 5, 2012

Jack Goldstein, Untitled, 1984

Andy Warhol, Electric Chair, 1970

Sean Duffy, Horizontal Mobile II, 2004

Sean Duffy, Double-Wide Sofa, 2001

Kori Newkirk, Hutch, 2004

Charlie White, Ken's Basement, from the series "Understanding Joshua", 2000

The Power of the Artistic Gesture

John Baldessari, Ordered Thought (Silver and Gold), 1986

Ken Price, New Mexico, 1983

Kristen Morgin, Cello #6, 2001

Amanda Ross-Ho, New Seizure 2, 2008

Amy Sillman, Untitled, 2009

Rodney McMillian, Untitled, 2006-8

Nathan Mabry, Shapeshift (Jaguar), 2015

Eleanor Antin, 100 Boots, 1973

Barbara Kruger, Untitled, 1989.

Glenn Ligon, Prisoner of Love #4, 1992

Catherine Opie, Bo from the series "Being and Having" 1991

Allan Sekula, Dockers Loading Sugar Ship, Calais

from the series "Deep Six, or Social Work Seen from a Ferry“, 1996

Sam Durant, History Prepares the Future, Great Sioux Nation, 2013

Edgar Arceneaux, Blind Pig #1, 2010

Margaret Honda, Sparrow Trap, 1991

Sterling Ruby, Monument Stalagmite/Fait Accompli, 2006

Monique Prieto, Miasma, 1999

Mary Weatherford, Second Riddle, 1991

Mary Heilmann, Surfing on Acid, 2005

Laura Owens, Untitled, 1994

Chris Burden, Large Glass Ship, 1983

Dave Muller, One More Time, 2008

Mindy Shapero, Mosaic Drawing: White, 2007-8

Videos

Nam June Paik, Global Groove, 1973

Bill Viola, The Reflecting Pool - Collected Work 1977-1980

Paul McCarthy, Black and White Tapes, 1975

Glenn Kaino, Linking Rings, 2011

Koki Tanaka, Someone's junk is someone else's treasure, 2011

Francis Alÿs, El Gringo from Point of View: An Anthology of the Moving Image, 2003

Key Points

• OCMA has always championed artistic experimentation and innovation through a commitment to

showing and collecting the work of dynamic and groundbreaking artists, often at pivotal moments in

their careers. This installation also reflects on the significant impact of these key works in the museum’s

collecting and exhibition history.

• Abstraction/Perception The works on view in these galleries span decades, media and artistic

movements, however all are concerned with significant questions around abstraction and perception.

By the mid/late 20th century broad questions about the nature of perception became a primary concern

for artists, who moved away from representation and towards abstraction and innovative uses of

materials in order to focus on the viewer’s experience and relationships between an embodied viewer

and the art object.

• Power of The Artistic Gesture The diverse media and forms in this section demonstrate a range of

approaches artists have taken to experiment with materials in conceptually pointed ways that call into

question the power of the art object and the authority of the artist. Some of these artists consider art as

means to challenge ideas about power in society—explicitly engaging social and cultural issues such as

race, gender or labor practices.

• The Constructed World The artists in this section of the installation all explore the idea that the world

we live is a construct. Whether drawing together appropriating found objects from the world in

assemblage work, or toying with the ideas of originality and fact, they all present dynamic works in a

broad range of materials that lend a critical eye to the physical world in which we live.