The Escalette Collection of Art at Chapman University

Nicolas Shake, Monument

2012-02-01T15:01:00.000-08:00

Nicolas Shake

Monument, 2011

Archival inkjet print, 40 x 60

Purchase: Acquisition Funds

My work is pastoral and post-apocalyptic one foot firmly planted in historical painting and the other in traditional still-life, so it is entropic and sanguine, gleeful, despondent, and matter of fact. It comes at a point in timewhen the fiction of Nature as a refuge is no longer viable, persuasive or convincing. But rather than rehash this fact my work celebrates the pastorals everyday ordinariness, the capacity for the viewer to experience something wondrous amidst decline. I focus on the cast-off household, and utilitarian, items that show up in the desert on the outskirts Los Angeles. The items could easily be categorized as rhopography but it is insignificance that gives them the ability to be reassigned a new aesthetic value. My work transforms rubbish into something unexpected, capturing and conveying its uncanny power and peculiar beauty.

In my work I engage in the act of gleaning; I arrive after the initial act has already transpired and take from that the fragments thathave been left behind. The items are allowed to continue on in a life that was never intended or anticipated. A bouquet of debris is arranged and, for a time, lives out its existence in the austere light of the desert. At other times the arrangements come to life at night. The nocturnes are powered with energy and light that needs no help from the surrounding public utilities. The simplest of things, a flashlight, illuminates the images.

When I am addressing a sculpture, it starts with a selection of one item at a time, piece-by-piece coming together, juxtaposing practical with caprice. I also engage in chronicling, bringing objects into the studio not in the physical form but through their painted depictions. The erected structures in the photographic and painted works have the semblance of solidity even while the objects continue to corrode. Returning to the same spot in the desert time and time again, I watch new items accumulate while others decay. My work captures the history of impermanence, and emphasizes the ever-changing value of objects.

When constructing works onsite, I accept that there are elements beyond my control. The photographs crystallize the image in a single moment. A photograph is a fixed form of a specific time and series of objects that may no longer exist in that locality. The perception of time through my paintings is fundamentally different; they now function as a monumental still-life history of the decay, in a permanent form. It is not human achievement that is now celebrated; it is that achievement’s deterioration.

There is an element of freedom, play, and acceptance, which is innate to the items themselves; stacking, constructing, pulling, prodding, dragging and wedging each article into place, the site becomes more than just a tragic site of decay. Memory becomes a focal point, reminding how it both serves us with great acuity and ultimately falls to its own enviable entropic predicament. Perhaps the work fits into the tradition ofmemento mori, reminding us of the impermanence of everything, even of those things that are seemingly stolid. The desert is an equalizer and magnifies and intensifies this fact, repeatedly bleaching from existence that which has not adapted.

Frank Gehry - Puzzled 3 - 5

2012-02-01T14:51:00.000-08:00

Frank Gehry

Puzzled #3, 2011

2 Color Lithograph, 14 x 18

Edition of 35

Published by: Gemini G.E.L.

Frank Gehry

Puzzled #4, 2011

2 Color Lithograph, 14 x 18

Edition of 35

Published by: Gemini G.E.L.

Frank Gehry

Puzzled #3, 2011

2 Color Lithograph, 14 x 18

Edition of 35

Published by: Gemini G.E.L.

Patrick Wilson

2012-01-24T13:41:00.000-08:00

Patrick Wilson

Red Emperor, Acrylic on canvas, 2010

John Paul Jones

2012-01-24T13:40:00.000-08:00

JohnPaul Jones, Untitled, Lithography 1962

Gift of: Ted Barnett

JohnPaul Jones, Untitled, Lithography 1962

Gift of: Ted Barnett

JohnPaul Jones, Untitled, Lithography 1962

Gift of: Ted Barnett

JohnPaul Jones, Untitled, Lithography 1962

Gift of: Ted Barnett

JohnPaul Jones, Man for July, oilon paper 1963

Gift of: Ted Barnett

JohnPaul Jones, Man for Blue August, oilon paper 1963

Gift of: Ted Barnett

Mary Corse

2012-01-23T21:05:00.000-08:00

Mary Corse

Untitled (White on White)

Acrylic on canvas w/glass beads, 1986

Artist Mary Corse was born in Berkeley, California and went on to attend University of California at Santa Barbara and the Chouinard Art Institute in Los Angeles. Corse has been the recipient of numerous grants and awards, including the Cartier Foundation Award and the Theordorian Award from the Solomon R. Guggenheim Museum. Corse has been the subject of many solo exhibitions, in Los Angeles, New York and London. The artist has been involved in group exhibitions such as Phenomenal: California Light and SpaceandPacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950-1970. Corse’s work, inspired by Abstraction and color theory, is part of the Light and Space movement, most popular in the 1960s, and the Minimalism movement. Her large-scale works are constructed from non-traditional materials, including glass, fluorescent lights and Plexiglas. Corse’s paintings include pearlescent paint on a stretched canvas, which gives an apparently simplistic canvas, a radiant, soulful light.

Corse lives and works in Los Angeles, California.

Madeline Roth

Art History, F 2011

Michael Reafsnyder

2012-01-23T21:03:00.000-08:00

Michael Reafsnyder

Floating

Acrylic on canvas, 2006

A Chapman alum, artist Michael Reafsnyder received his undergraduate degree in 1992 before going on to receive his MFA from the Art Center College of Design in Pasadena, California in 1996. Reafsnyder’s body of work includes both painting and sculpture, both of which are exuberantly produced works featuring bold, thick, layered colors and dribbled paint. While Reafsnyder’s work appears instantaneous and instinctual, the paintings are actually carefully produced during one long session. Thus, it is the process behind the work rather than the work itself that is the most complex. Reafsnyder’s work has been the subject of many international solo exhibitions, stretching from Singapore to Madrid. The artist has also participated in numerous group exhibitions across the United States as well. Reafsnyder’s work is held in both private and public collections, including the Los Angeles Country Museum of Art (LACMA), San Diego’s Museum of Contemporary Art and the Laguna Beach Art Museum.

Currently, Reafsnyder lives and works in Southern California. He is a faculty member at Claremont Graduate University.

Madeline Roth

Art History, F 2011

Jane Bauman

2012-01-23T20:56:00.000-08:00

Jane Bauman
Red Birth, 2010
Oil and enamel paint on aluminum
Gift: Artist 2010

After completing her undergraduate degree at Santa Clara University, Jane Bauman went on to receive her MFA in Painting and Sculpture from the San Francisco Art Institute. The artist’s work ranges from geometric shapes, including squares and chevron stripes, to the organic, including plant life, to medically-inspired “Rorschach” series. The pieceStar Born(2010) features a typical Bauman construction -oil and enamel on aluminum.Bauman has stated that the recycled aluminum is constructed from lithography plates, giving discards a new life. Bauman has stated that the Italian Renaissance is the primary inspiration for her work. From the late 1970s and onward, Bauman has been part of many exhibitions both solo, particularly in Southern California and New York City and group, including a 2008 exhibition in Chapman University’s Guggenheim Gallery. Her art can be seen in the permanent collections at both the Cooper Hewitt Museum of American Art in New York City and the Musee de Cloitre des Cordeliers in Paris, France.

Bauman now teaches at Coastline Community College in Orange County, California.

Madeline Roth

Art History, F 2011

Ellina Kevorkian

2012-01-23T20:54:00.000-08:00

Ellina Kevorkian

Last Night My Tears Were Falling, I Went to Bed So Sad and Blue Then I Had a Dream of You

Mixed media on canvas, 2002

Artist Ellina Kevorkian received her MFA from Claremont Graduate University. Kevorkian’s work, which consists of both painting and video, is theatrical and her paintings frequently exhibit sculptural and swirling lace designs on large canvases. It is typical for Kevorkian to combine mediums, such as painting on digital photographs. Kevorkian has had numerous solo and group exhibitions as well as acting as a curator for many art exhibitions in the Southern California area.

Kevorkian lives and works in Los Angeles, California.

Madeline Roth

Art History, F 2011

Have you seen the collection latly?

2011-11-15T09:39:00.001-08:00

Beckman Building
3rd and 4th floors

Roger Herman, Buildings, Oil on canvas

Robert Rauschenberg and Mark Bradford


Jason Adkins, Sinister Minister, Oil on canvas

Sheldon Figoten

Mathew Brown

Jay McCafferty

Michael Reafsnyder

Ellina Kevorkian

Seann Brackin

Todd Hebert

Robert Rauschenberg

Antonio Adriano Puleo

Mary Addison Hackett and Jay Sagen

Carlos Almaraz

2011-11-10T08:51:00.001-08:00

Carlos Almaraz

Southwest Song, 1988

Serigraph, 114/120

Gift: Taco Bell®, 2010

Dennis Hollingsworth

2011-11-09T13:32:00.000-08:00

Dennis Hollingsworth

Obeja Negra, 2006

Lithography

Purchased: Acquisition funds, 2006

Dennis Hollingsworth

Obeja Negra, 2006

Lithography

Purchased: Acquisition funds, 2006

Dennis Hollingsworth

Obeja Negra, 2006

Lithography

Purchased: Acquisition funds, 2006

Dennis Hollingsworth

Obeja Negra, 2006

Lithography

Purchased: Acquisition funds, 2006

Todd Hebert

2011-11-07T14:33:00.000-08:00

Todd Hebert

Harvest Moon: Pointer, 2008

Monotype

Gift: Pilliod Records, 2009

Todd Hebert

Less is More, 2004

Lithograph

Gift: Western Projects, 2009

Wayne White

2011-11-07T14:21:00.000-08:00

Wayne White

Drop the Country Boy Act, 2008

Monotype

Purchased: Acquisition funds, 2009

Wayne White

Dude Starts Freakin', 2008

Monotype

Purchased: Acquisition funds, 2009

The Cynthia and David Comsky West African Collection

2011-11-07T13:58:00.000-08:00

Yoruba People, Nigeria
Equestrian Figure with Bowler Hat Surmounting diminutive
horse supported by standing female figure.
Blue And Burnt orange pigment on carved wood

Salampasu People, DRC
Wooden Face Mask
Wood, copper and bamboo

Yombe People, D.R. Congo
Ceremonial Rattle
Carved wood

Yoruba People, Nigeria
Divination Cup
Carved wood

Yoruba People, Nigeria
Twin Dolls, (Ibeji)
Pigmented wood decorated with beeds.

Dogon Granary Ladders

2011-11-03T10:39:00.000-07:00

Dogon Granary Ladders

Carved Wood, 20th c.

Gift: Mace Neufeld

These ladders were used in a Dogon village's to climb to the flat roof of a home,which was used for storage, living, and sleeping.

African Movie Posters

2011-11-03T10:25:00.000-07:00

Various African Movie Posters (Ghanaian)

Oil on recycled grain sacks

Gift: Jay & Helen Lavely

Russian Icons

2011-11-03T10:16:00.000-07:00

Kazan Mother of God

Russia, Late 19th Century

Gift: Evelyn LaLanne, 1990

Come see the entire collection of Russian Icons,

they are located on the 4th floor of Leatherby Library.

Mark Leysen

2011-11-01T11:50:00.000-07:00

Mark Leysen

Crimson Rise, 2008

Acrylic on canvas

Gift: Artist, 2008

Mark Leysen

Untitled, 2009

Acrylic on canvas

Gift: Artist 2009

Robert Rauschenberg

2011-11-01T11:11:00.001-07:00

Robert Rauschenberg

International Very Special Art Festival, 1989

Offset Lithograph on Wove Paper 142/275

Gift: Emily(14), Janet and Barry Steinberg, 2010

Robert Rauschenberg

Trust Zone, 1969

Lithography

Printer: Daniel Freeman • Publisher: Gemini G.E.L.

Gift: Steinmetz Family, 2001

Robert Rauschenberg

Tracks, 1970

Lithography

Printer: Stuart Henderson • Publisher: Gemini G.E.L.

Gift: Steinmetz Family, 2001

Robert Rauschenberg

Strawboss, 1970

Lithography

Printer: Timothy Isham, Charles Ritt • Publisher: Gemini G.E.L.

Gift: Steinmetz Family, 2001

Robert Rauschenberg

Rack, 1969

Lithography

Printer: Charles Ritt • Publisher: Gemini G.E.L.

Gift: Steinmetz Family, 2001

Robert Rauschenberg

Earth Crust, 1969

Lithography

Printer: Andrew Vlady • Publisher: Gemini G.E.L.

Gift: Steinmetz Family, 2001

Robert Rauschenberg

Cardbird I, 1971

Offset lithograph, screenprint, tape, and polyethylene

collage on corrugated cardboard

Printer: Jeffrey Wasserman, Donald Steinmetz • Publisher: Gemini G.E.L.

Gift: Steinmetz, 2005

Fabrication Notes:
1. 5-color photo offset printing on paper was laminated to corrugated cardboard,
2. 1-color screenprint on cardboard was collaged,
3. 1-color screenprint on cardboard was collaged,
4. cardboard insert,
5. 2-color screenprint on cardboard was hinged with tape,
6. reinforced sealing tape and Kraft tape was collaged,
7. clear matte acrylic polymer coating was applied.

Sam Francis

2011-11-01T09:17:00.000-07:00

Sam Francis

Another Speck, 1972

Lithography

Published by: The Litho Shop Inc.

Gift: Steinmetz Family, 2001

Sam Francis

Yunan State I, 1971

5 Color Lithography

Published By: Gemini G.E.L. • Edition Printing: Lloyd Baggs

Gift: Steinmetz Family, 2001

Sam Francis

Yunan State III, 1971

5 Color Lithography

Published By: Gemini G.E.L. • Edition Printing: Lloyd Baggs

Gift: Steinmetz Family, 2001

Ann Hamilton

2011-11-01T09:13:00.000-07:00

Ann Hamilton
Warp & Weft II, 2007
I color lithograph
Edition of 10, Gemini G.E.L.

Jonathan Borofsky

2011-11-01T09:12:00.000-07:00

Jonathan Borofsky
Male/Female, 2000
2 color lithography / 4 color serigraph
Edition of 35, Gemini G.E.L.

Laurie Brown

2011-11-01T09:07:00.000-07:00

Laurie Brown
Convergence #13, 1995
Iris digital print
Gift of the artist, 2009

Hilary Baker

2011-11-01T09:06:00.000-07:00

Hilary Baker
Berlin, 2006
Acrylic on canvas
Gift of the artist, 2008

Jason Adkins

2011-10-31T14:34:00.000-07:00

Jason Adkins

Disneyland is Burning, 2008

Oil on canvas

Gift: Artist, 2010

Jason Adkins

Sinister Minister, 2009

Oil on canvas

Gift: Artist, 2010

Jason Adkins

My Beloved Monster, 2009

Oil on canvas

Gift: Artist, 2010

Seann Brackin

2011-10-31T14:30:00.000-07:00

Seann Brackin
In the Third Year, 2006
Oil on canvas
95.5 x 66 in
Purchased: Acquisition funds, 2007

Seann Brackin
#28, 2005
Oil on canvas
Gift: Armen Karamardian, 2010

Al Held

2011-10-31T14:17:00.000-07:00

Al Held

Stoneridge 1, 1983

Color etching , edition of 65

Gift: Taco Bell®, 2010

Al Held

Stoneridge 3, 1983

Color etching , edition of 65

Gift: Taco Bell®, 2010

YEK

2011-10-31T13:56:00.000-07:00

YEK

Brisk, 2006

Acrylic on wood

Gift: Artist, 2011

(Western Projects)

YEK

Tease, 2000

Acrylic latex and enamel on panel

Gift: Private Donor

YEK

Double Novella #232, 2007

Acrylic on canvas

Gift: Artist 2011

(Western Projects)

Carlos Almaraz

2011-10-31T13:45:00.000-07:00

Carlos Almaraz
Southwest Song, 1988
Serigraph, 114/120
Gift of Taco Bell®, 2010

Victor Hugo Zayas

2011-10-26T14:31:00.000-07:00

Victor Hugo Zayas
Lluvia, 2004
Oil on canvas

Purchased: Acquisition Funds
Gift of Dorothy Kennedy.

Masami Teraoka

2011-10-26T13:54:00.000-07:00

Masami Teraoka

McDonald's Hamburgers Invading Japan/Tokyo Ginza Shuffle, 1982

Serigraph

Gift: Edward Den Lau Estate, 2009

Masami Teraoka

New Views of Mt. Fuji: Sinking Pleasure Boat, 1977

Serigraph

Gift: Edward Den Lau Estate, 2009

Masami Teraoka

31 Flavors Invading Japan: French Vanilla, 1977

Serigraph

Gift: Edward Den Lau Estate, 2009

Masami Teraoka

31 Flavors Invading Japan: Chocolate Chip, 1977

Serigraph

Gift: Edward Den Lau Estate, 2009

Masami Teraoka

Waterfall Contemplation, 1977

Serigraph

Gift: Edward Den Lau Estate, 2009

Nathan Oliveira

2011-10-26T13:46:00.000-07:00

Nathan Oliveira

Rocker, 2007

Color sugar lift and spit bite aquatints with hard ground etching
Printer: Ianne Kjorlie
Publisher: Crown Point Press

Purchased: Acquisition funds 2007

Nathan Oliveira

Bird, 2007

Color drypoint, sugar lift and spit bite aquatints with hard ground etching
Printer: Ianne Kjorlie
Publisher: Crown Point Press

Purchased: Acquisition funds 2007

Roy Lichtenstein

2011-10-26T13:36:00.000-07:00

Roy Lichtenstein

Mirror Series, Mirror #5, 1972

Lithography

Printer: George Page • Publisher: Gemini G.E.L.

Gift: Steinmetz Family, 2001

Roy Lichtenstein

The Solomon R. Guggenheim Museum Poster, 1969

Serigraph

Published by the artist and Leo Castelli Gallery, New York,

for the Solomon R. Guggenheim Museum, New York

Gift: Guggenheim Trust, 2001

Shai Kremer

2011-10-26T13:29:00.000-07:00

Shai Kremer

Defense Wall Surrounding Gilo Neighborhood, 2004
C-print
Purchased: Acquisition funds, 2006

Shai Kremer

Military Ammunition Storage, Ten Years After Explosion, 2001
C-print
Purchased: Acquisition funds, 2006

Shai Kremer

Eucalyptus Woods and Beehives, 2005
C-print
Purchased: Acquisition funds, 2006

Mary Addison Hackett

2011-10-25T09:48:00.000-07:00

Mary Addison Hackett

Station, 2008
Oil on canvas, 60” x 48”
Gift: Artist, 2010

Mary Addison Hackett

Fast-acting Mr. Electric Sunshine, 2008
Oil on canvas, 72” x 60”
Gift: Artist, 2010

Nate Fors

2011-10-25T09:41:00.000-07:00

Nate Fors

Einstein - A Natural Paragraph is..., 1990 - 91
Oil and collage on canvas
Gift: Taco Bell®, 2010

Nate Fors

Einstein - Symbol, 1990 - 91
Oil and collage on canvas
Gift: Taco Bell®, 2010

Alessandro Fornaci

2011-10-25T09:33:00.000-07:00

Alessandro Fornaci

Bug Dad, 2008

Etching

Gift: Artist, 2009

Alessandro Fornaci

Tracce Vitali di Arte Mistero in Natura, 2008

Gift: Artist, 2009

John Divola

2011-10-25T09:28:00.000-07:00

John Divola

N34º09.948'W15º47.952', 1995

C-print

Purchased: Acquisition funds, 2005

John Divola

N34º11.185'W116º06.725'V2, 1995

C-print
Purchased: Acquisition funds, 2005

John Divola

A - Cyclone, 1987

Dye transfer photo

Gift: Taco Bell®, 2010

John Divola

B- House, 1986

Dye transfer photo

Gift: Taco Bell®, 2010

John Divola

D - Flying/Falling, 1984

Dye transfer photo

Gift: Taco Bell®, 2010

John Divola

E - Desire 1985

Dye transfer photo

Gift: Taco Bell®, 2010

Jim Dine

2011-10-25T09:22:00.000-07:00

Jim Dine

Nutcracker, 1973

Lithograph, 68/100

Gift:Taco Bell®, 2010

Albert Contreras

2011-10-25T09:12:00.000-07:00

Albert Contreras
Untitled 12 Panels, 2009-10
Acrylic, ink, glitter on panels
Gift: Artist, 2010

Kris Chatterson

2011-10-25T09:09:00.000-07:00

Kris Chatterson

Vapor, 2006

Acrylic on Canvas

Purchased: Acquisition funds, 2006

Kris Chatterson

Navigator, 2006

Acrylic on Canvas

Gift: Artist, 2009

Kris Chatterson

Fray, 2006

Acrylic on canvas

Gift: Artist, 2009

Kris Chatterson

Unknowable Center, 2006

Acrylic on Canvas

Purchased: Acquisition funds, 2006

Carol Inez Charney

2011-10-25T08:57:00.000-07:00

Carol Inez Charney

MAN -1, 2003

Digital C-print mounted on aluminum

Purchased: Acquisition funds, 2006

Carol Inez Charney

HMB -1, 2003

Digital C-print mounted on aluminum

Purchased: Acquisition funds, 2006

Max King Cap

2011-10-24T15:06:00.000-07:00

Max King Cap

Full of Spiders

Acrylic and oil on paper

Purchased: 2008

Jerry Burchfield

2011-10-24T15:03:00.000-07:00

Jerry Burchfield

Entrance to El Toro, 2007

C-Print

Purchased: BNY Mellon, 2007

Jerry Burchfield

(Runway)

C-Print

Purchased: Acquisition funds,

Mark Bradford

2011-10-24T14:52:00.000-07:00

Mark Bradford

Untitled, 2003

Lithograph, 32 x 32

Purchased: Acquisition Funds 2007

Mark Bradford

Untitled, 2003

Lithograph, 32 x 32

Purchased: Acquisition Funds 2007

Mark Bradford

Untitled, 2003

Lithograph, 32 x 32

Purchased: Acquisition Funds 2007

EDWARD RUSCHA

2011-10-24T13:20:00.000-07:00

Ford Crestliner

Cadillac

Ford

Chevrolet Bel Air

Plymouth

Chevrolet

Oldsmobile

ED RUSCHA

Motor City, 2009

Portfolio of seven color aquatints with hard ground etching, 24/50

Printer: Emily York • Publisher: Crown Point Press
Purchased: Acquisition Funds, 2011

Edward Ruscha

Pico and Sepulveda, 2001
3 color Serigraph

Printer: James Reid, Amy Robinson • Publisher: Crown Point Press

Purchased: BNY Mellon funds, 2008

Hubert Schmalix

2011-10-20T09:47:00.000-07:00

Hubert Schmalix
Sunset, 2010
Oil on Linen
Purchased: Acquisition Funds, 2011

Hubert Schmalix
Plum Blossom, 2002
Oil on canvas
Gift: Roger Herman, 2005

Michael Hafftka Donation

2011-09-26T14:05:00.000-07:00

On the Aleph-Bet
In 2006 I began to use the Hebrew letterforms as the basis for watercolors. I was inspired by the idea in the Zohar that the world was created with letters. Each letter has led me emotionally and visually towards imagery that evokes my cultural heritage. As an artist, I believe that I create a world from my innate experience and, in that way, move closer to God. Absorbing tradition in a home in which both parents were Holocaust survivors, I recognized Hebrew letters as meaningful symbols. Linguistically, they are the fundamental building blocks of Judaism. Symbolically, they are the mystical building blocks of creation. Hebrew letters are as pliable as human figures. The letters provide me with a visual springboard, which is at once verbal, human, archetypal and Jewish. This series, then, expresses my interest in the human condition, as well as my debt to Jewish tradition.

My father visited me when I was living in Israel in 1973—his first time in the country. I picked him up from the airport and as we were walking down the street he began to cry. I asked him why; and he pointed to a sewer cover in the pavement imprinted with Hebrewcharacters. He said that as a child and young man in the ghetto of Chenstohova, Poland, he could never have imagined seeing this—something as simple as a sewer cover with Hebrew letters on it.

Michael Hafftka, Haqdamat Sefer Ha Zohar

2011-07-11T11:00:00.000-07:00

Michael Hafftka
Haqdamat Sefer Ha Zohar, 2009
Watercolor, ink and pencil on paper

On the Aleph-Bet

In 2006 I began to use the Hebrew letterforms as the basis for watercolors. I was inspired by the idea in the Zohar that the world was created with letters. Each letter has led me emotionally and visually towards imagery that evokes my cultural heritage. As an artist, I believe that I create a world from my innate experience and, in that way, move closer to God. Absorbing tradition in a home in which both parents were Holocaust survivors, I recognized Hebrew letters as meaningful symbols. Linguistically, they are the fundamental building blocks of Judaism. Symbolically, they are the mystical building blocks of creation. Hebrew letters are as pliable as human figures. The letters provide me with a visual springboard, which is at once verbal, human, archetypal and Jewish. This series, then, expresses my interest in the human condition, as well as my debt to Jewish tradition.

My father visited me when I was living in Israel in 1973—his first time in the country. I picked him up from the airport and as we were walking down the street he began to cry. I asked him why; and he pointed to a sewer cover in the pavement imprinted with Hebrew characters. He said that as a child and young man in the ghetto of Chenstohova, Poland, he could never have imagined seeing this—something as simple as a sewer cover with Hebrew letters on it.

Michael Hafftka, Brooklyn, 2009

William Kentridge

2010-09-20T08:30:00.000-07:00

William Kentridge

Olympia (wing), 2007

Hand Lithograph and collage

Edition #10/25

Purchased: Acquisition funds, 2010

In nearly three decades of work, South African artist William Kentridge has created works of such powerful social and political import that he may justly be considered one of the most important artists alive today. In this delicate litograph of a sensual nude, the artist wittily references a tradition of female reclining nudes that begun in the sixteenth-century with Titian. The figure’s pose is indebted to Titian’s famous paintings of a soignée nude Danae, the mythological princess loved by Zeus in the guise of a golden shower. Yet, as the title indicates, the artist is also referencing the stark and direct representation of a reclining nude prostitute painted by Manet in the nineteenth century and entitled Olympia. Just as Manet had unveiled the erotic charge hidden behind the acceptable veneer of classical mythology, in this work Kentridge brilliantly investigates the boundaries between reality and mythology, between sensual and erotic. By creating a collage in which the Titian nude lays against the pages of an encyclopedia, the artist aims to challenge and displace the viewer’s notions of visual pleasure.

Liliana Leopardi, Ph.D

Assistant Professor

Department of Art

Chapman University

Bill Boaz

2010-08-03T09:15:00.001-07:00

Bill Boaz

Untitled, n/a

Acrylic on canvas

Gift: Artist n/a

William G. Boaz, Professor of Art; 1964-1991. B.S., Murray State College; M.A., University of Georgia; further study, University of Louisville, New York University, Columbia University.

I met Bill Boaz in 1971. I took an immediate liking to him because of his calm and unassuming demeanor. Educated in the South, he had travelled extensively throughout the world, had a wonderful wife, Angie, and daughter, Tia. He was creating art, teaching art, and was always interesting to talk to. His sincere interest and support for my exploring and experimenting with a variety of processes was significant for me in helping shape my focus on art. The first class I had with him I discovered that it was okay to experiment with any material. No limitations, just get the stuff out and see what you can do with it! Little did I realize at the time that his unconditional acceptance of what I was doing, would in turn, help me establish a self-confidence with the choices I made at the time, and would make in the future. He had a subtle, but very effective approach to getting students curious with investigating techniques outside of their immediate interests. He would do this by demonstrating or suggesting alternative methods, connections illustrated in art history, and more importantly, the excitement of investigation. This approach was key to the student discovering his or her personalized approach to artmaking. A common method of his was to focus on being supportive and motivating. This applied to any student that took the time to be with him, and it was always active and fun. In a most fundamental way he was leading me on a path to discover my connection to creativity. As I reflect on the times spent with him, both in and out of the classroom (or studio) environment, I am reminded of the importance inherent in a humanistic approach to art. This philosophy has permeated into all areas of my life. His mentoring contributed, in large part, in my choosing a path in life that has been eventful, dynamic, and rewarding. His teachings and behavior have contributed to inspire me in maintaining an enthusiasm for creating and teaching art. I attempt to inspire others through my teaching a better understanding of the importance and influence of art in their lives.

Pat Sparkuhl

7/2010

John Baldessari

2009-10-02T12:38:00.000-07:00

John Baldessari

(Series: A French Horn Player, A Square Blue Moon and Other Subjects)

Accordionist (with Crowd), 1994
25 color lithograph/serigraph
Published: Gemini G.E.L
Edition Printing: Jennifer Azzarone, Stanley Baden, James Reid, Stephanie Wagner
Purchased: Acquisition Funds, 2009

California born, raised and educated, John Baldessari has become one the world’s most recognized Contemporary artists. Born in National City, California, Baldessari began his undergraduate work at San Diego State College and continued his graduate work at Otis Art Institute and other institutions such as the Chouinard Art Institute and the University of California at Berkeley. Between showing at over 200 solo exhibitions and 900 group exhibitions, Baldessari’s work has ranged from video, films, lithographs and prints.

Chapman University has added John Baldessari’s Accordionist(With Crowd) to their growing permanent collection in 2009. Working in hisiconic style of color while denying information to the viewer, this piece is afine example of Baldessari’s process of distancing the viewer from crucialinformation and disrupting common images with geometric fields of color. In2009, Baldessari won the prestigious Golden Lion Lifetime Achievement award atthe 53^rd International Venice Biennale, Italy. He taught at the CaliforniaInstitute of the Arts in Valencia for 18 years and the University of CaliforniaLos Angeles from 1996-2007. John Baldessari still lives and continues his workin Southern California and stands as one of the most important figures in notonly American, but also International Contemporary Art.

Karlie Harstad

Chapman University

Art History, Spring 2009

Eric Orr

2009-07-09T10:00:00.001-07:00

Eric Orr
Time Shadow, 1989
Oil on panel
Gift: Anton Segerstrom, 2007

Eric Orr
Dark 14, 1989
Oil on panel
Gift: Anton Segerstrom, 2007

Part of the Southern California Light and Space movement of the 1960s-70s, Orr was a contemporary conceptual artist dealing primarily with installation, sculpture, and painting. His work is based on a religio-philosophical conceptualization of space icons found in ancient religions and cultures, such as Egyptian symbolism and Buddhist spiritualism. In his installations, Orr worked with the elemental qualities of natural materials—stone, metal, water, and fire—with the intention of eliciting a visceral response from the viewer. Other materials Orr used include gold leaf, lead, blood, human skull, and AM/FM radio parts. Orr’s body of work also include monochromatic paintings, as well as large scale fountains that can be viewed in a variety of public and private spaces around the city of Los Angeles.

Orr is an internationally acknowledged artists with work in the collections of the Pompidou Center in Paris, France, Los Angeles County Museum of Art, the Whitney Museum and the Museum of Modern Art in New York City, The Farm in New Zealand, the San Francisco Museum of Art, and The Guggenheim.

Billy Al Bengston

2009-07-07T14:58:00.000-07:00

Billy Al Bengston

Venice Watercolor, 1973

Watercolor on paper

Gift: Anton Segerstom, 2007

Born in Dodge City, Kansas in the 1930’s, he moved to Los Angeles in 1948. Begston attended Manual Arts High School where he developed an interest in ceramics. He became an avid surfer and while working as a lifeguard, befriended fellow surfer and later artist Kenneth Price. At the California College of Arts and Crafts he studied painting with Ricahrd Diebenkorn and participated in a group exhibition at the avantguard Six Gallery in San Francisco in 1956. Later he enrolled in what is now the Otis Art Institute and studied ceramics with Peter Voulkos. His attention gradually shifted from ceramics to painting.

Bengston live and works in Venice Beach, California.

Billy Al Bengston
Mecca Dracula, 1968
Lithography
Gift: Anton Segerstrom, 2007

Richard Serra

2008-01-01T00:00:00.001-08:00

Richard Serra

Paths and Edges #4, 2007

1 color etching, edition of 60

21 1/2" x 38 1/2"
Published: Gemini G.E.L

Purchased: Acquisition funds, 2008

San Francisco born artist Richard Serra worked in local steel mills during his college years for extra money. This experience along with his Minimalist tendencies have lead him to be famously known for his monumental sculptures that push and question the boundaries of industrial mediums. From rubber belts with neon tubes to splashing molten lead, Serra epitomizes the growing presence of alternative medium paired with the dialect between the body of the viewer and the object that flourished in 1960 America.

In the 1970s Serra began to use rolled steel and was commissioned for public art works around the world. Large-scale sculptures such as Serra’s Torqued Ellipse exude a looming physicality and impact and have been installed at locations such as the University of California, Los Angeles and the Broad Contemporary Art Museum. Serra currently shows at Gagosian galleries, one of the world’s top gallery forces, and has exhibited at MoMA, the Louvre and the Guggenheim.

In recent years, Richard Serra has kept his industrial and minimal tendencies and has begun creating drawings and mixed media images. In 2008, Chapman University gained one of Serra’s etchings on paper, Paths and Edges #4, to its collection. Part of a series, this piece displays both the past and future of the artist’s development and continues Serra’s prolific study of geometric form. American born and internationally renowned, Richard Serra’s work holds artistic importance that spans decades, locations and mediums.

Karlie Harstad

Chapman University

Art History, Spring 2009

Jay Sagen

2008-01-01T00:00:00.000-08:00

Jay Sagen

Untitled, 1993

Acrylic and ink on canvas

66" x 66"

Gift: Artist, 2008

Local Coastline Community College gallery curator Jay Sagen pulls his influence from abstract expressionists in the San Francisco bay area. After receiving his Bachelor of Fine Arts from the San Francisco Art Institute in 1972, Sagen began working in galleries and began his prolific career as both an artist and curator. Sagen was eventually drawn to teaching in 1977 and has continued with his philosophy to educated through experience while exposing students to important historical artists, styles and movements ever since.

While completing his Master in Fine Arts from the University of California, Irvine, Sagen focused on abstracts compositions in printmaking. The abstraction of black and white compositions has long been a strong reoccurring theme throughout his career and is evident shown in his large painting, Untitled that has been in Chapman University’s permanent art collection since 2008. As an artist, Sagen’s main focus has been on nonrepresentational forms on alternative medium such as recent works that utilize latex, ink and Masonite. As a curator, he has created a purpose and focus of displaying and contextualizing local Orange County artists.

Karlie Harstad
Chapman University
Art History, Spring 2009

Lisa Adams

2003-01-01T00:00:00.000-08:00

Lisa Adams

Busy Bodies, 1988

Oil, acrylic and linoleum on canvas

20 x 16 in

Gift: Anne Ayers, 2003

Los Angeles based artist Lisa Adams began her artist career with a Bachelor of Arts in Painting from Scripps College located in Claremont, California. Adams then continued her skill through Claremont Graduate University’s Master in Fine Arts program. Working in a Post Modern artistic sense of layering and mixed media, Adams creates texture and depth within the two-dimensional painting space. A Fulbright Professional Scholar, Adams’ work has been widely acclaimed and collected notably by philanthropist and avid art collector Eli Broad has added Adams to his collection. Lisa Adams currently practices out of Los Angeles but has participated in artist residencies all around the world from Finland, to Japan and Costa Rica.

Overlapping forms and subtle accents of color create the composition of Adams’ 1988 Busy Bodies. Obtained by Chapman University in 2003, Busy Bodies displays her exploration of the physical qualities of paint. Adams past and recent works display parallel attributions to artists such as Robert Rauschenberg and American artist Jasper Johns. Whether she is independently curating art shows or designing the BMW of North America Art Car, Lisa Adams stands as important practicing female artist standing as a progressive individual while concurrently calling upon historical art practice as well.

Karlie Harstad

Chapman University

Art History, Spring 2009

Lisa Adams
Under Construction, 1995
Mixed media on wood
Gift: Artist, 2009

Lisa Adams
The Tree Family, 1995
Mixed media on wood
Gift: Artist, 2009

Bruce Nauman

2001-01-01T00:00:00.000-08:00

Bruce Nauman

Untitled (Salmon Pink), 1971

Lithography
22 1/4" x 28 1/4"

Published: Castelli Graphics, New York, and Nicholas Wilder Gallery, Los Angeles
Printed: Cirrus by Serge Lozingot and Ed Hamilton.

Gift: Steinmetz Family, 2001

Bruce Nauman was born in Indiana in 1941 and received B.F.A. from University of California, Davis. Working across mediums including sculpture, film, performance and printmaking, Nauman calls upon daily actives and everyday materials. With over 26 solo exhibitions and countless group exhibitions to his name, Bruce Nauman’s artistic influence has traversed decades. Nauman has received inspiration from his various living locations throughout California and abroad funded initially through his Artist Fellowship Award from the National Endowment for the Arts in 1968. Internationally exhibited, Nauman’s work has been show at both national institutions such as the Whitney Museum of American Art as well as various locations abroad including top German institutions.

Bruce Nauman

Untitled (Grey), 1971

Lithography

23" x 42"

Published: Castelli Graphics, New York, and Nicholas Wilder Gallery, Los Angeles

Printed: Cirrus Editions

Gift: Steinmetz Family, 2001

In 2001 Chapman University received two lithographs of Nauman’s displaying his plurality of mediums and artistic endeavors. The two obtained works, Untitled (Salmon Pink) and Untitled (Gray), both 1971, were completed while Nauman lived in Pasadena, California and briefly taught at University of California, Irvine. Nauman’s display of three-dimensional space on paper shows evidence of his questioning of the capabilities of a medium. Throughout his career, Bruce Nauman has collaborated with an assortment of artists of varying genres and has experimented with countless mediums to stand as a paradigm of the acceptance of mediums beyond painting and sculpture that commenced during the 1960s.

Karlie Harstad

Chapman University

Art History, Spring 2009