Provenance

Glenstone

Glenstone Museum Foundation
Rales, Mitchell P. Mr.
The Glenstone Foundation

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This painting features small circular dots scattered across the canvas, forming a dense pattern. The dots are in shades of red, pink, yellow, and orange, with black appearing to show through beneath them. Most of the yellow dots seem to be clustered towards the right, with the red and pink dots scattered throughout.
Emily Kam Kngwarray, Muna – Everything, 1991, synthetic polymer paint on linen, Gift of Funds from Glenstone Foundation, Emily Kam Kngwarray / Copyright Agency, Leslie Howarth, 2024.15.1

Muna – Everything

Emily Kam Kngwarray · 1991 · synthetic polymer paint on linen ·  Accession ID  2024.15.1

The sculpture depicts an elongated figure with exaggerated proportions. The figure stands upright with no visible arms or feet. It has long legs and a long, thin torso, with wider, curving areas depicting hips and breasts. A long, thin neck supports a round, cup-like shape where the head would be. The sculpture is made of a dark material with a smooth surface and glossy finish. It is placed on a round pedestal against a background of light-colored stone tiles.
Simone Leigh, Sentinel, 2022, bronze, Gift of the Glenstone Foundation, 2023.25.1

Sentinel

Simone Leigh · 2022 · bronze ·  Accession ID  2023.25.1

This painting features lines and shapes creating an abstract representation of the American flag. Human figures overlap with the flag's design, with three standing people partially obscured by the striped pattern. The three people are linking arms. The person on the left holds a thin knife in one hand and has their other hand over their heart. This person has brown skin and black hair, while the other two people have peach skin and light-colored hair, although the colors of the flag overlap with and obscure the colors of the people. The red paint from the horizontal lines of the flag is dripping, giving the appearance of splattered paint or blood.
Faith Ringgold, The American People Series #18: The Flag is Bleeding, 1967, oil on canvas, Gift of Glenstone Foundation and Patrons’ Permanent Fund, 2021.28.1

The American People Series #18: The Flag is Bleeding

Faith Ringgold · 1967 · oil on canvas ·  Accession ID  2021.28.1

This painting shows two large, bright green triangles at the top and bottom edges of the canvas, their points meeting in the center, creating an hourglass shape. Surrounding the triangles is empty white space.
Carmen Herrera, Untitled, 2013, acrylic on canvas, Gift of Funds from Glenstone Foundation and David M. Rubenstein, 2022.18.1

Untitled

Carmen Herrera · 2013 · acrylic on canvas ·  Accession ID  2022.18.1

Two vertically oriented, rectangular canvases are stacked over each other, and a dart board is affixed to the uppermost edge. The canvases are collaged with newspaper articles, headlines, black-and-white pamphlets, cartoons, comic books, illustrations of animals like chipmunks and buffalo, and a triangular pennant celebrating the “Washington Redskins” as “Super Bowl XXVI CHAMPIONS.” Streaks and drips of red paint create horizontal bands across the panels, separated by bands streaked in yellow. Text is visible throughout, including the title of the pamphlet, which repeats across the composition: “Community Service and Interest Courses/Workshop.” Headlines include “The Heist,” “For People Who Inherited Brains Instead of Wealth,” “Defying the Stereotypes,” and “Destroy The Myth.” The comic is titled “Son of Tomahawk,” and fliers are titled “Help Locate Handicapped Indian Children” and “2nd Annual Flathead Reservation Culture Fair.” One piece of blue fabric with white polka dots is along the bottom edge of the top panel and a piece of red fabric with white dots is along the bottom edge of the lower panel. The outer band of the dart board is smeared with red, and darts with red, blue, yellow, or green feathers line the upper perimeter of the board.
Jaune Quick-to-See Smith, Target, 1992, mixed media on canvas, Purchased with funds from Emily and Mitchell Rales, 2020.6.1

Target

Jaune Quick-to-See Smith · 1992 · mixed media on canvas ·  Accession ID  2020.6.1

This is a sculpture of a rooster that is entirely colored in flat, vibrant blue. The material of the sculpture is smooth and solid. The blue rooster is in profile, facing the right, with the comb on its head sticking up and its tail feathers fanned out. In the background is a wall made of rectangular beige stone tiles. Below the rooster’s feet is a flat stone surface with geometric patterning.
Katharina Fritsch, Hahn / Cock, 2013, painted glass fiber-reinforced polyester resin on stainless steel armature, Gift of the Glenstone Foundation in honor of the resilience of the American people during the Covid-19 pandemic, 2020.23.1

Hahn / Cock

Katharina Fritsch · 2013 · painted glass fiber-reinforced polyester resin on stainless steel armature ·  Accession ID  2020.23.1

This painting displays an abstract composition with irregular, textured forms. The central shape is similar to an irregular oval that shows hues of pale pink, blue, purple, and white in thick, textured brushstrokes. The surrounding area features shades of muted beige and gray in soft, sweeping lines that are also visible, but less textured.
Jean Fautrier, Body and Soul, 1957, oil and varnish with sand and dry pigment on paper mounted on canvas, Gift of The Glenstone Foundation, 2003.138.1

Body and Soul

Jean Fautrier · 1957 · oil and varnish with sand and dry pigment on paper mounted on canvas ·  Accession ID  2003.138.1

A woman’s face and neck are roughly modeled in this dark green, freestanding bronze sculpture. In this photograph, her face is angled to our right. She looks down, chin tucked back into her neck. She has deep-set eye sockets, a thin, blade-sharp nose, and her small mouth is closed, the corners downturned. Light from our left gleams off some of the surfaces, especially in the choppy hair and along the edge of her nose. A long diagonal ridge on the right side of her neck, our left, suggests a tendon stretching as she turns her head. Her neck acts as the sculpture's base. The background lightens from pale gray along the top to white along the bottom, where the sculpture casts a faint shadow to our right.
Pablo Picasso, Head of a Woman (Fernande), model 1909, cast before 1932, bronze, Patrons' Permanent Fund and Gift of Mitchell P. Rales, 2002.1.1

Head of a Woman (Fernande)

Pablo Picasso · model 1909, cast before 1932 · bronze ·  Accession ID  2002.1.1

The sculpture is a cylindrical gray form placed on the floor within an interior space. The surface is textured with a white pattern resembling weathered or worn paint, with the gray material showing through in some patches. The top is smooth and dark gray. It sits against a backdrop of a wall with large, light-colored rectangular tiles, and on top of a light brown, marbled floor.
Roni Horn, Opposite of White, v. 2 (Large) (A), 2006-2007, solid cast black glass with fire-polished top, Gift of the Collectors Committee, Howard and Roberta Ahmanson, John and Mary Pappajohn, Denise and Andrew Saul, Constance R. Caplan, Lenore S. and Bernard A. Greenberg Fund, Kyle J. and Sharon Krause, and Mitchell and Emily Rales, 2015.63.1

Opposite of White, v. 2 (Large) (A)

Roni Horn · 2006-2007 · solid cast black glass with fire-polished top ·  Accession ID  2015.63.1

Three rows of six horizontal, rectangular canvases, each painted a single, saturated color, hang in a widely spaced grid against a three-story gray stone wall in this photograph. Moving from our left to right, the canvases in the top row are carrot orange, pine green, royal blue, canary yellow, marigold orange, and azure blue. The middle row has panels in marine blue, amethyst purple, shamrock green, soot black, vivid red, and rust brown. The bottom row canvases are banana yellow, black, coral red, midnight blue, emerald green, and orchid purple. The smaller, rectangular stones in the wall behind the panels are also laid horizontally, and they vary from silvery white to smoke gray.
Ellsworth Kelly, Color Panels for a Large Wall, 1978, oil on canvas, Purchased with funds provided by The Glenstone Foundation, Mitchell P. Rales, Founder, 2005.87.1

Color Panels for a Large Wall

Ellsworth Kelly · 1978 · oil on canvas ·  Accession ID  2005.87.1