Provenance

Peter and Kate Kend

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This painting showcases an array of dynamic shapes and lines overlapping with one another like a collage. There are elongated green leg-shaped forms and long bones in light pink and blue attached to circles, alongside other colorful, abstract elements. In the upper center of the painting there is a black circle filled with blue and rust-colored dots, with red and yellow spots forming a circular pattern on the right side. Much of the background of the bottom half of the painting is colored in a bold, bright red, while the top features a gray oval pattern on a white background. Other shapes are in bright shades of orange, blue, green, black, and yellow, forming overlapping squares, circles, and lines.
Kiki Kogelnik, Night, 1964, oil and acrylic on canvas, Gift of Funds from Howard and Roberta Ahmanson, Kyle and Sharon Krause, Meredith and Brother Rutter, Katherine and Peter Kend, the Frederick & Diana Prince Foundation, and the Collectors Committee, 2022.76.1

Night

Kiki Kogelnik · 1964 · oil and acrylic on canvas ·  Accession ID  2022.76.1

Nona Faustine, From Her Body Came Their Greatest Wealth, 2013, printed 2025, inkjet print, Pepita Milmore Memorial Fund and Gift of Funds from the Kend Family Fund, 2026.19.1

From Her Body Came Their Greatest Wealth

Nona Faustine · 2013, printed 2025 · inkjet print ·  Accession ID  2026.19.1

John Akomfrah, My Body Is The Monument, 2021, inkjet print, Heather and Jim Johnson Fund and Katherine and Peter Kend Fund, 2021.104.2

My Body Is The Monument

John Akomfrah · 2021 · inkjet print ·  Accession ID  2021.104.2

The image shows a landscape with poles adorned with colorful flags. The view is from ground level, with a high horizon line where arid hills meet a clear blue sky. The color palette includes earthy browns and tans, bright greens, reds, blues, and a vivid blue sky. Various words in white and different shades of blue are overlaid on the image.
Ben Langlands, Nikki Bell, Graveyard, 2004, inkjet print, Gift of Katherine and Peter Kend, 2018.197.8

Graveyard

Ben Langlands, Nikki Bell · 2004 · inkjet print ·  Accession ID  2018.197.8

This is a photograph of a dilapidated building facade with airport codes in a grid pattern. The image shows an old structure in disrepair, with crumbling walls and missing sections. The facade has arches and windows in a classical or historical style. Overlaid on the image is a checkerboard pattern filled with three-letter airport codes from around the world, such as JFK, SYD, and AMS, positioned in various sizes and opacities.
Ben Langlands, Nikki Bell, Royal Palace, Kabul, 2004, inkjet print, Gift of Katherine and Peter Kend, 2018.197.6

Royal Palace, Kabul

Ben Langlands, Nikki Bell · 2004 · inkjet print ·  Accession ID  2018.197.6

The image displays a complex array of crisscrossing lines and fragmented shapes, created by overlapping wreckage of abandoned aircraft. The abstract composition suggests a chaotic metal jungle or remnants of colossal mechanical birds, with jagged wings and exposed fuselages hinting at their former glory. Superimposed over the scene is a grid of translucent squares, each containing different country code top-level domains like ".fr," ".us," and ".ye," reminiscent of a digital chessboard.
Ben Langlands, Nikki Bell, The Boneyard, 2004, inkjet print, Gift of Katherine and Peter Kend, 2018.197.3

The Boneyard

Ben Langlands, Nikki Bell · 2004 · inkjet print ·  Accession ID  2018.197.3

The image depicts an arrangement of irregular and rounded stones, layered atop each other creating a pattern. There are stones and letters scattered in a grid, evoking a sense of a mosaic or puzzle.
Ben Langlands, Nikki Bell, Bunker Wall, 2004, inkjet print, Gift of Katherine and Peter Kend, 2018.197.4

Bunker Wall

Ben Langlands, Nikki Bell · 2004 · inkjet print ·  Accession ID  2018.197.4

The image shows a large, abandoned and dilapidated building with a ruined facade and debris surrounding it. The horizon is low, with the building dominating the scene. A weathered, windowless three-story structure marked by decay and bullet holes is prominent in the composition. The cloudy sky casts a somber light over the scene, with an earthy color palette of brown, beige, grey, and muted blue. There is text overlay with abbreviations and names. The medium appears to be a photograph.
Ben Langlands, Nikki Bell, Ruined Palace, Dar ul Aman, 2004, inkjet print, Gift of Katherine and Peter Kend, 2018.197.7

Ruined Palace, Dar ul Aman

Ben Langlands, Nikki Bell · 2004 · inkjet print ·  Accession ID  2018.197.7

The image depicts a snow-covered landscape with rolling terrain extending to the left. The horizon is high on the left and slopes down towards the center, meeting a pale sky dominating the upper part of the scene. Sparse vegetation and dark patches are subtly indicated across the snow, adding texture and depth. The color palette is muted with soft whites and light grays. In the distance, the land gently rises, adding a sense of gradual elevation to the flat landscape.
Jungjin Lee, Wind 07-110, 2007, gelatin silver print, Robert Menschel and the Vital Projects Fund and Katherine and Peter Kend Fund, 2019.33.1

Wind 07-110

Jungjin Lee · 2007 · gelatin silver print ·  Accession ID  2019.33.1

The image shows a makeshift structure made of stacked green crates and earthen materials, topped with stones and twigs. The ground is bare earth with scattered stones and sparse vegetation. A bare tree with dried branches is present against a clear blue sky. In the distance, there are flat lands and hills blending into the horizon. The sky is blue, balancing the earthy tones of the scene. The composition features earthy tones with contrasting green crates and blue sky, creating a gritty yet realistic appearance.
Ben Langlands, Nikki Bell, The Bunker, 2004, inkjet print, Gift of Katherine and Peter Kend, 2018.197.5

The Bunker

Ben Langlands, Nikki Bell · 2004 · inkjet print ·  Accession ID  2018.197.5