Provenance

Matthew Marks Gallery

Marks Gallery, Matthew

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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

A steel square with rounded corners sits upright on a grassy lawn in front of a row of trees under a blue sky. The metal is weathered and lightly pitted to a dark, bronze brown. It looms over the bushes behind it.
Ellsworth Kelly, Stele II, 1973, one-inch weathering steel, Gift of The Morris and Gwendolyn Cafritz Foundation, 1999.15.2

Stele II

Ellsworth Kelly · 1973 · one-inch weathering steel ·  Accession ID  1999.15.2

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

Three geometric shapes against a plain wall: a bright yellow crescent, a vivid orange pointed isosceles triangle, and a deep blue leaf or canoe silhouette. The artwork's arrangement may evoke elements of nature and familiar forms.
Ellsworth Kelly, Three Panels: Yellow, Orange, Blue, 1997, oil on canvas, Gift of The Morris and Gwendolyn Cafritz Foundation, 1999.15.1

Three Panels: Yellow, Orange, Blue

Ellsworth Kelly · 1997 · oil on canvas ·  Accession ID  1999.15.1

The sculpture is a minimalist and monolithic form with an upright rectangular prism shape. It has a smooth, black exterior with a matte finish and appears to be made of metal or painted wood. The sculpture is tall and narrow, giving it an imposing presence. It has clean lines and a uniform surface, creating a contemporary aesthetic and a sense of solid craftsmanship.
Anne Truitt, Twining Court II, 2002, acrylic on wood, Gift of Mary and John Pappajohn, 2018.134.1

Twining Court II

Anne Truitt · 2002 · acrylic on wood ·  Accession ID  2018.134.1

The image displays a composition of lines and shapes. It shows two vertical forms that resemble trees or branches. In the center, there is a square shape with light blue bars, possibly resembling a window or a cage.
Robert Gober, Untitled, 2017, graphite and pastel on artificial vellum, Purchased as the Gift of Emily and Mitchell Rales, Pepita Milmore Memorial Fund, Edward E. MacCrone Fund, Mr. and Mrs. Curtin Winsor III, and Eleanor Wirth, 2018.104.1

Untitled

Robert Gober · 2017 · graphite and pastel on artificial vellum ·  Accession ID  2018.104.1

The image shows circular shapes with vertical lines against a textured brown background. The circles vary in solidity and texture, hinting at an abstract landscape.
Terry Winters, Theophrastus Garden 2, 1982, oil on linen, Corcoran Collection (Gift of the Women's Committee of the Corcoran Gallery of Art and Museum Purchase, by exchange: George Biddle), 2014.136.168

Theophrastus Garden 2

Terry Winters · 1982 · oil on linen ·  Accession ID  2014.136.168

Anne Truitt, Knight's Heritage, 1963, acrylic on wood, Gift of the Collectors Committee, 2011.19.1

Knight's Heritage

Anne Truitt · 1963 · acrylic on wood ·  Accession ID  2011.19.1

Six rounded and clustered organic shapes in shades of gray and beige stand out against a textured, mostly russet-brown background in this horizontal abstract painting. A strip up the left fifth of the painting has a lighter, eggshell-white background with seven cell-like, dark gray shapes spaced along its height. In the larger area to the right, the formation closest to the top of the painting is a spiral made up of bone-white pouches or ovals. A smaller gray form like those in the strip to the left floats next to this spiral. Moving down and to the right is a long, loaf-shaped form made up of more white pouches or cells. Below that is a wreath-like cluster of ash-brown, cup-like forms. Now moving left along the bottom of the composition are a caterpillar-like shape made of four dark gray ovals and, finally, an oval made of what appears to be parchment-brown kernels or scales.
Terry Winters, Bitumen, 1986, oil on linen, Richard S. Zeisler Fund, 2008.35.1

Bitumen

Terry Winters · 1986 · oil on linen ·  Accession ID  2008.35.1

The image depicts the upper body of a person, showing their head and shoulders. The person is facing directly forward with a slightly downcast gaze. Their facial features are detailed with distinct lines and shadows, conveying a rugged appearance. The person has wavy hair and is wearing a collared shirt with visible fabric lines and creases. There is no jewelry visible, and the background is plain with a few linear markings.
Lucian Freud, Matthew Marks Gallery, Mark Balakjian, Kai, 1991-1992, etching in black on wove paper, Gift of the Collectors Committee, 1992.82.1

Kai

Lucian Freud, Matthew Marks Gallery, Mark Balakjian · 1991-1992 · etching in black on wove paper ·  Accession ID  1992.82.1