1966
Josef Albers
Oil on fiberboard
30 3/4 x 30 3/4 inches

One of the most immediately recognizable and influential series of paintings produced in the twentieth century is Josef Albers's Homage to the Square. Beginning the series in 1950, at age 62, Albers was to produce more than a thousand Homage paintings and prints, in four different formats.(1) The works became widely known (one appeared on a 1980 United States postage stamp) and influenced two generations of hard edge and Minimalist art.

1967
Josef Albers
Oil on fiberboard
30 3/4 x 30 3/4 inches

One of the most immediately recognizable and influential series of paintings produced in the twentieth century is Josef Albers's Homage to the Square. Beginning the series in 1950, at age 62, Albers was to produce more than a thousand Homage paintings and prints, in four different formats.(1) The works became widely known (one appeared on a 1980 United States postage stamp) and influenced two generations of hard edge and Minimalist art.

1951
Josef Albers
Oil on fiberboard
30 3/4 x 30 3/4 inches
Year Acquired: 1980

One of the most immediately recognizable and influential series of paintings produced in the twentieth century is Josef Albers's Homage to the Square. Beginning the series in 1950, at age 62, Albers was to produce more than a thousand Homage paintings and prints, in four different formats.(1) The works became widely known (one appeared on a 1980 United States postage stamp) and influenced two generations of hard edge and Minimalist art.

2000
Stephan Balkenhol
Painted wood
Four figures, each 65 x 19 x 14 inches
Year Acquired: 2001

In 4 Figures, 2000, Stephan Balkenhol depicts four versions of the same rudimentary but realistically rendered modern Anglo man. Each figure is scaled down, and has an unevenly painted surface—the effect of using a broad paintbrush, which leaves much of the natural wood exposed. 4 Figures is characteristic of Balkenhol's work, visually and in its connections to the German woodcarving tradition and to sculpture's classical past. In this work the artist not only pays homage to the history of sculpture, but also critiques it with humor and irony.

1976
Georg Baselitz
Oil on canvas
98 1/2 x 75 inches
Year Acquired: 1994

You can lose the model, but you don’t lose the subject. The painting takes its course but Elke comes in and out of the picture. It’s complicated. I begin with an idea, but as I work, the picture takes over. Then there is the struggle between the idea that I preconceived in advance and the picture that fights for its own life . . . . You have to fight the conventions of the genre and the subject itself in order to make something new. The point of portraiture is to leave the portrait behind so that you can go forward.[1]

 

1986-87
David Bates
Oil on canvas
96 x 78 inches
Year Acquired: 1987
1973
Robert Bechtle
Oil on canvas
48 x 69 inches
Year Acquired: 1996
1968
Larry Bell
Glass and chrome
12 1/8 x 12 1/8 x 12 1/4 inches
Year Acquired: 1968

Larry Bell's glass cube manifests the "less is more" aesthetic that drove much twentieth-century geometric abstraction. Reducing compositional elements to a minimum is, however, a risky artistic endeavor; viewers often find the work simplistic, without visual interest, and nothing more than a modernist joke. Artists, on the other hand, have conceived reductivism as a means to distill form to a purer essence, to focus on a medium’s constituent elements, and to produce a distraction-free work that can induce a contemplative, even spiritual, attitude.

1982
Ed Blackburn
Acrylic on canvas
61 7/8 x 83 3/4 inches
Year Acquired: 1992
1997
Dennis Blagg
Oil on canvas
44 x 121 7/8 inches
Year Acquired: 1998
1950
Cynthia Brants
Oil on canvas
38 x 24 inches
Year Acquired: 1951
1990-91
Deborah Butterfield
Unique Bronze
80 x 112 x 28 inches
Year Acquired: 1992
1966
Vija Celmins
Oil on canvas
16 x 26 1/8 in
Year Acquired: 1996

The Modern Art Museum's collection includes three key works by Vija Celmins, each of which reflects her acute sensitivity to adjustments in space, scale, and color. In the early 1960s Celmins focused on creating imagery of common domestic items, including pencils, erasers, combs, heaters, and lamps, approaching them with a style reminiscent of Edward Hopper's approach to people.

2000-01
Vija Celmins
Oil on linen, mounted on wood
31 x 38 inches
Year Acquired: 2002

The Modern Art Museum's collection includes three key works by Vija Celmins, each of which reflects her acute sensitivity to adjustments in space, scale, and color. In the early 1960s Celmins focused on creating imagery of common domestic items, including pencils, erasers, combs, heaters, and lamps, approaching them with a style reminiscent of Edward Hopper's approach to people.

1976
Gilbert & George
Photo piece, twenty-five panels
Overall 121 x 102 inches
Year Acquired: 1998
1985
Nancy Graves
Bronze and stainless steel with polyurethane paint
92 3/4 x 70 x 31 1/2 inches

Nancy Graves established herself as an artist in the late 1960s with an exhibition of realistic, life-size camels. Fabricated out of wood, steel, burlap, polyurethane, animal hide, wax, and oil paint, these sculptures appeared to be taken directly from a natural history museum, and they asserted the artist’s interest in science and history. Graves returned to sculpture in the 1980s after a hiatus dedicated to painting, still interested in science and nature, but far from her camels of the late 1960s.

1968
Philip Guston
Acrylic on panel
30 x 32 inches
Year Acquired: 1999
1978
Philip Guston
Oil on canvas
75 x 108 inches
Year Acquired: 1999
1976
Philip Guston
Oil on canvas
80 x 116 inches
Year Acquired: 1994
1999
Joseph Havel
Bronze
119 x 56 x 56 inches
Year Acquired: 2001

I'm interested in capturing the ordinary, whether it be an object or a momentary event. I want to make it permanent but make it seem like it isn't.(1) — Joseph Havel

1995-99
Howard Hodgkin
Oil on wood
43 3/8 x 49 5/8 inches
Year Acquired: 2002
1963
Jess
Oil on canvas mounted on wood
29 3/4 x 33 inches

In 1949, after working for the Manhattan Project in Oak Ridge, Tennessee, between 1944 and 1946, Jess envisioned the earth being destroyed in the year 1975. This fear, undoubtedly part of a more pervasive anxiety experienced internationally following the devastation of World War II, inspired Jess to move to San Francisco and become an artist in an attempt to rediscover a sense of value in society. Montana Xibalba, an example from his Translation series, is part of a grand meditation on science, myth, and art.

1973
Anselm Kiefer
Oil and charcoal on burlap
117 1/2 x 170 1/4 inches
Year Acquired: 1997
1996
Anselm Kiefer
Emulsion, acrylic, and gold leaf on canvas
130 x 218 3/4 inches (330.2 x 555.6 cm)
1992-94
Anselm Kiefer
Lead, tin, and steel
74 3/4 x 208 5/8 x 43 3/8 inches
Year Acquired: 2000

Since 1969 Anselm Kiefer has consistently returned to the book as subject matter. As a primary source of knowledge and a repository of world religions, books are a powerful and paradoxical symbol for the artist. Eventually Kiefer’s books became freestanding sculptures, massive symbols of the artist’s investigation of world knowledge through images. Book with Wings consists of a massive lead book supported on a steel lectern. The pages of the open book sprout two majestic wings.

1965
Agnes Martin
Acrylic and graphite on canvas
72 1/16 x 72 1/8 inches
Year Acquired: 1993

Geometry has nothing to do with it. It’s all about finding perfection and perfection can’t be found in something so rigid as geometry. You have to go elsewhere for that, in between the lines.(1)
— Agnes Martin

1977
Agnes Martin
India ink, graphite, and gesso on canvas
72 x 72 inches
Year Acquired: 2000

Geometry has nothing to do with it. It’s all about finding perfection and perfection can’t be found in something so rigid as geometry. You have to go elsewhere for that, in between the lines.(1)
— Agnes Martin

1986
Melissa Miller
Oil on linen, two panels
67 x 168 inches
Year Acquired: 1986
1999
Ron Mueck
Silicone, acrylic, polyurethane foam, and fabric
25 1/4 x 17 x 16 1/2 inches
Year Acquired: 2000

Ron Mueck's Untitled (Seated Woman) will be on view at the Blanton Museum of Art in the exhibition Lifelike, June 23 - September 22, 2013.

2007
Roxy Paine
Stainless steel
40 x 45 x 28 feet
Year Acquired: 2008
1960
Pablo Picasso
Oil on canvas
51 1/4 x 77 1/4 inches
Year Acquired: 1967
Lia
1944
Dickson Reeder
Oil on canvas
28 5/8 x 23 1/2 inches
Year Acquired: 1945
1969
Gerhard Richter
Oil on canvas
79 x 79 inches
Year Acquired: 2002
1964
Gerhard Richter
Oil on canvas
57 x 78 1/2 inches
Year Acquired: 1997

If there is a continuity in Richter’s art, it is to be found in a finely-tuned dialectic that counterposes the seemingly irreconcilable opposites of subjective expression and objective analysis, and the mechanical versus the handmade. Richter seldom works directly from a subject, preferring the mediation of a photographic image. A majority of the artist’s imagery (including many of his early abstractions) is derived from photographs, which he has kept in his “atlas,” a vast private archive of photographic images taken by Richter or clipped from newspapers and magazines.

2001
Linda Ridgway
Bronze
108 x 26 x 26 inches, dimensions variable
Year Acquired: 2002
1999-2001
Susan Rothenberg
Oil on canvas
91 1/2 x 112 inches
1976
Susan Rothenberg
Acrylic and tempera on canvas
67 x 84 1/8 inches
Year Acquired: 1991
1989-90
Susan Rothenberg
Oil on canvas
79 5/8 x 95 1/8 inches
Year Acquired: 1997
1980
Ulrich Ruckriem
Texas red granite
Left: 36 3/8 x 43 x 43 1/4 inches, Right: 36 3/8 x 43 3/4 x 43 1/2 inches
Year Acquired: 1981
1987
Thomas Ruff
Ektacolor print, edition of 4
83 x 65 inches
Year Acquired: 1995
1995
Sean Scully
Oil on canvas
114 x 180 inches
Year Acquired: 2002
1994
Sean Scully
Oil on canvas
108 x 162 inches
Year Acquired: 2002
1984
Sean Scully
Oil on canvas, three panels
102 x 134 inches
Year Acquired: 2002
1983
Sean Scully
Oil on canvas, two panels
Overall 115 x 96 inches
Year Acquired: 2002
1982
Sean Scully
Oil on canvas
114 x 97 3/4 inches
Year Acquired: 2002
2002
Richard Serra
Cor-ten steel
67 feet 10 inches x 21 feet 9 inches x 20 feet 10 inches
Year Acquired: 2002
1989
Cindy Sherman
Cibachrome print
65 11/32 x 49 13/16 inches
Year Acquired: 1995
2000
Ann Stautberg
Oil on black-and-white photograph, edition 1/3
68 x 90 inches
Year Acquired: 2001
1999
Thomas Struth
C-print, framed in two parts, edition 2/6
108 1/4 x 136 1/4 inches
2000
Erick Swenson
Mixed media
91 x 40 x 40 inches
Year Acquired: 2002

Erick Swenson’s Untitled, 2000 depicts a dramatic scene in which a seamlessly crafted, meticulously hand-painted figure resembling a dog or fawn is being swept upward from the ground by a billowing red and black cape hooked to its tail. The small, pale animal bares its teeth, adding tension to the moment, yet the story behind this strange event is undisclosed. Swenson’s scenes are the result of a hybrid of influences, including animation, movie stage sets, and natural history dioramas.

1997
Cy Twombly
Bronze
65 3/4 x 13 3/4 x 13 3/4 inches
Year Acquired: 1999
Undated
Bror Utter
Oil on canvas
Year Acquired: 1957
1951
Bror Utter
Watercolor on paper
15 1/4 x 18 inches
20th Century
Bror Utter
Oil on canvas
19.25 x 30 inches
Year Acquired: 1946
Undated
Bror Utter
Oil on canvas
20.25 x 24 inches
Year Acquired: 1949
Gun
1982
Andy Warhol
Synthetic polymer paint and silkscreen ink on canvas
72 x 92 inches
Year Acquired: 1998
1953
Charles T. Williams
Welded steel
19 1/4 x 36 1/4 inches
Year Acquired: 1954
2001
Daisy Youngblood
Bronze
17 3/4 x 19 x 8 inches
Year Acquired: 2002