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Between and Mortarboard


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Absence

A sedan parked in an empty lot on a snowy night is illuminated by a brightly-lit electric Christmas star.
Joel Meyerowitz
JFK Airport, New York City
1968
gelatin silver print | paper
Gift of Selma & Gerald Lotenberg
2000/2.158.1
Several thin coats of blue-gray acrylic paint have been applied to primed linen canvas whose weave was altered by removing threads at more or less regular intervals. She then carefully sanded down the paint to highlight the new texture and make “visible the life within the linen material.” (artist’s statement (2009), http://www.eddarenouf.com/Statement.html)
Edda Renouf
Continuous
1976
acrylic | canvas
The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the Nation Gallery of Art, with generous support from the National Endowment for the Arts and the Institute for Museum and Library Services
2008/2.255
This print has rows of stencilled black text in all capital letters on black background. In pencil, the print is signed and dated (l.r.) "Glenn Lignon '92" and numbered (l.l.) "27/45". 
Glenn Ligon
Untitled
1992
etching, aquatint, spitbite, sugarlift | Rives BFK paper
Museum Purchase
1993/2.13.3
The painting depicts a solitary male figure standing along the shore. The thin layers of paint evoke a misty, overcast day with the figure standing perhaps on a tidal flat.
James McNeill Whistler
Sea and Rain
1865
oil | canvas
Bequest of Margaret Watson Parker
1955/1.89
A bulbous vessel with narrow mouth and base. The wood is burned and cracked and circled by three gold bands, two of which overlap.<br />burnt wood vessel with gold
Todd Hoyer
Three Gold Rings, from Ringed Series
1991
eucalyptus, imitation gold leaf
Gift of Robert M. and Lillian Montalto Bohlen
2002/2.145
Max Beckmann
Hunger. No. 4 from the Series of Ten Prints, 'Die Hölle' (Hell).
1919
lithograph | paper
Museum Purchase
1949/1.184
A foggy landscape with silhouetted trees recedes from the left into the hazy distance and sky. The corners of the images are vignetted and the photograph is toned with tea, giving it a light brown-peach color. 
Sally Mann
Untitled
1993 - 2002
gelatin silver print, toned with tea | paper
Museum purchase made possible by Myron and Bobbie Levine
2003/1.365
This installation is composed of a group of gelatin silver prints that are hung on the wall with sixty-four light bulbs strung throughout, a web of hanging electric cables connecting them.  In the center hang three larger photos of young people's faces. Above each and below the center image are smaller versions of similar portrait photographs. Four of these smaller photos are also arranged in the line of the large photographs, one on each end, and two separating the larger pictures.  
Christian Boltanski
Monument to the Lycée Chases
1989
gelatin silver prints, electric cables, light bulbs
Museum purchase made possible by the W. Hawkins Ferry Fund and anonymous individual benefactors
2006/1.154
Antique- and aged-looking photograph of a dreamy, perhaps nocturnal, landscape. In the foreground, a massive tree rises up into the hazy night, and trees recede into the distance. White pock marks give the whole scene, sky and land, an ethereal starry look.
Sally Mann
Untitled (Manassas #25)
2002
gelatin silver print, varnished | paper
Museum purchase made possible by the W. Hawkins Ferry Fund
2004/2.129
A blurred image of a nude figure bending forward, the arms nearly reaching the ground.
Bill Jacobson
Song of Sentient Beings #1612
1995
gelatin silver print | paper
Museum purchase made possible by the W. Hawkins Ferry Fund
1999/1.102
A photograph depicting a man sitting nude on a porch rail with his back turned toward the camera. Bright light filters through leaves on a nearby tree.
John Dugdale
Smile For Your Lover Comes (Stone Ridge, New York)
2000
cyanotype | paper
Museum Purchase made possible by the Harry Denham Trust
2003/1.379
The image depicts a two-doored red cabinet, outlined in thick black lines. It has a light blue handle on each door. The print is signed and editioned in pencil (l.r.) "Patrick Caulfield AP".
Patrick Caulfield
We wanted to bleed with silence
1973
screenprint | paper
Gift of Jack A. and Noreen Rounick
2004/2.80.13

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Absence — by seth@whirl-i-gig.com (February 13 2017 @ 11:47 am)
Comparative — by seth@whirl-i-gig.com (February 13 2017 @ 11:47 am)
Visual and literary themes — by seth@whirl-i-gig.com (February 13 2017 @ 11:47 am)

Part of 5 Learning Collections

American Orientalist art at the turn of the 20th century
<p>America Encounters Asia in Art</p>

American Orientalist art at the turn of the 20th century
<p>America Encounters Asia in Art</p>

72 Collection Object Sources

Continuous (2008/2.255)
Untitled (1993/2.13.3)
Sea and Rain (1955/1.89)
Untitled (2003/1.365)
Cape Cod (1990/2.31)
Mother© (1985/2.19)
A Lie (1985/2.18)
Night Shadows (1983/1.146)
In Prison (2000/2.224)
Michigan Worker (2004/1.153)
Untitled (1990/1.226)
Untitled (1990/1.224)
Hiroshima Series (1997/1.533.6)
Rhyolite, Nevada (2012/1.244)
Ice House (2012/2.2)
Stoa (1984/2.58.6)
Stadium (1984/2.58.5)
Sanctuary (1984/2.58.3)
La Ventanita (2011/2.103)
Heavy Burden (1985/1.125.7)
Palimpsest - II (2007/1.89)
New York (1990/2.54)
El Cafecito (2011/2.112)
Los Toldos (2011/2.119)
La Casita Azul (2011/2.72)
Bay Sky (2014/2.264)
Petra, Jordan (2014/2.318)
Untitled (2014/2.134)
Peering Over (2014/2.244)
Untitled (2014/2.121)
Grand Cayman (2015/2.114)
Puglia (2015/2.116)
Untitled (2016/2.196)

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Last Updated

May 2, 2017 3:07 p.m.

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