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F16 Burde - RCCORE 100 - First Year Seminar

Satire and Society, Swift to Stewart

James Gillray
The Generae of Patriotism: or The Bloomsbury Farmer Planting Bedfordshire Whear
1796
hand-colored etching and aquatint | paper
Museum Purchase
1976/2.138
George Grosz
Religion of the Sword
1924 – 1927
ink | paper
Gift of Helmut Stern
1991/2.76
Elliott Erwitt
Coke Machine and Missile, Alabama, U.S.A., from "Recent Developments"
1974
gelatin silver print | paper
Gift of Lawrence and Carol Zicklin
1987/1.175.2
Elliott Erwitt
Las Vegas, from "Master Prints Volume I"
1957
gelatin silver print | paper
Gift of Mr. and Mrs. Sheldon Sobel
1987/1.194.6
Elliott Erwitt
Cats & Dogs, Alabama, U.S.A., from "Recent Developments"
1975
gelatin silver print | paper
Gift of Lawrence and Carol Zicklin
1987/1.175.4
This print has three main images all printed in a monochromatic grey. At the top is an image of a man, in a tweed coat and fur hat, polishing a motorcycle. The scene is from a pier. The sign says "GANGWAY 1," with the ocean and the Statue of Liberty in the background. The central image is a detail of the face of the Statue of Liberty, with a small boy visible in her crown. The bottom image is more abstracted shapes from a dot-matrix image.
Sir Eduardo Paolozzi
Fifty Nine Varieties of Paradise
1965 – 1970
photolithograph | paper
Gift of Professor Diane M. Kirkpatrick
2000/2.14.31
This screenprint has a series of horizontal lines in pink, orange, green, grey, tan, black, and blue. At the top, there is a grid design in black, tan and white. There is a band of figures at the bottom with images of Mickey and Minnie Mouse. Below, there is a band of colored hexigons and a band of dark pink with white text, which reads: "horizon of expectation". The problem 'Which comes first, the solid. The fashioning power, that has not contained in R*. In the first case we choose Z for A and thus get R* = B. In the second case we may also write the second line in the form (2<em>ˆ</em>1) Z T1, ..., from the dialectical usage. / almost an example of painted philosophy. Thus, the result of these pictures we can carry on a dialogue. fore T = ASi. Consequently the order of B is Zb, half of its operations are proper forming the group T the other half are improper, the coloring serves the visualization of form. The / colored border unconscious expectations, these CtT(a) + CtF(a) = Ct(a) no ve ní, vune ne vea ní.
Sir Eduardo Paolozzi
Horizon of Expectations
1967
screenprint | paper
Gift of Professor Diane M. Kirkpatrick
2000/2.11.3
This photolithographic print in shades of blue and rusty red is separated into three main registers. There are three television screens at the top, each with a different image: from left to right, a woman putting on her earrings as a man looks on, an American football game, and an image of a man in a suit from the chest up with the text Dr. Walter W. Heller. Below these images, there is a register with a grid of squares within squares with two large rectangular boundries; at the far right, two larger squares are stacked vertically. The bottom register of images shows a contemporary domestic kitchen, the colors of which are transected in two places, and, in the foreground, an oversized image of a female hand holding a sandwich and a fork with salad attached.
Sir Eduardo Paolozzi
Calling Radio Free America
1965 – 1970
photolithograph | paper
Gift of Professor Diane M. Kirkpatrick
2000/2.14.5
This print has two main sections. At the top is a large photograph of three salad-filled cabbage bowls on a tablecloth. Each one is labeled (clockwise from top left): seafood coleslaw, cottage cheese coleslaw, and california coleslaw. The lower section is flanked at the top and bottom with bands of checkers and polkadots, and at the center there are five images of women, standing in contemporary dress.
Sir Eduardo Paolozzi
Mumbling and Munching to Muzak
1965 – 1970
photolithograph | paper
Gift of Professor Diane M. Kirkpatrick
2000/2.14.21
This color screenprint is separated into two main parts. At the top is a frame made out of unwrapped candy and wrapped candy bars with an image of a man flexing his arm, while a bikini-clad woman peeks from behind the bicep in the frame. The bottom half of the image has two blue and red stars, one on top of the other at the right, and a television to the left. The television has a handle at the top, with an arm coming from the upper candy-frame to hold the handle, and on the screen is a large moth on a red background.
Sir Eduardo Paolozzi
Llalla Pallozza...Image fades but memory lingers on
1965 – 1970
screenprint | paper
Gift of Professor Diane M. Kirkpatrick
2000/2.14.23
This ink drawing on paper has a black wash ground, with two figures drawn in opaque black ink. On the right, a comic figure, in only boxers and a pointed hat, dances. His right leg has been kicked through a television set that he holds with his right hand. Scissors fall from his left hand towards what looks like a two-slot toaster on the ground. A black, horned beast lurks in the background, holding a phone overhead that has two earpieces, attached together with no cradle.  In the background, a headstone-shaped form silhouettes the dancing figure.<br /><br />
The drawing is signed and dated in ink (l.l.) "KOSTABI 1984".
Mark Kostabi
As Long as I Don't Have to Get Up Before 11:00
1984
ink | paper
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
2008/2.240
This print shows a landscape with a mountain rising in the middle of the background. There are trees and grass in front, and a body of water in the foreground. At the center, on the edge of the water, sits a faucet, a razor, and a toothbrush in a clear glass as if the body of water is a sink.<br />
The print is signed (l.r.) "Doug Webb" and numbered (l.l.) "197/275" in pencil.
Doug Webb
Cleanliness is Next to Godliness
1980 – 1990
screenprint | paper
Gift of Jack A. and Noreen Rounick
2004/2.40

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April 17, 2019 5:31 p.m.

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