The Anderson Collection
The Anderson Collection
Here are pics from a cold rainy Sunday visit to The Anderson Collection.
Sam Richardson: Islands, Ice, and Sand is the exhibit in the museum's 1st floor Wisch Family Gallery.
The ground floor hallway features Christopher Brown's "1946"
Jules Olitski "Burn and Glitter" commands the wall on the second floor.
Pink, white, red + black, gray = Rothko.
Peter Voulkos stoneware sculpture "Untitled Stack," with Franz Kline "Figure 8" on the wall in the background.
Richard Diebenkorn's "Ocean Park #60" is 7.75' x 6.75'. Diebenkorn created 145 paintings in his Ocean Park series.
Tony DeLap's dark, round "Erdnase" forms a sort of counterpoint to Robert Therrien's pair of "No title (flagpole)" bronze sculpture and "No title (flagpole)" oil painting.
Mary Weatherford's "Black Painting." Weatherford was inspired by the glow of neon signs against twilight high desert skies when she was a visiting artist at CSU Bakersfield. She intended for the neon light's electric cords and connecting box to be visible in front of the canvas as a part of the art.
A view from the second floor.
.
Here are pics from a cold rainy Sunday visit to The Anderson Collection.
Sam Richardson: Islands, Ice, and Sand is the exhibit in the museum's 1st floor Wisch Family Gallery.
The ground floor hallway features Christopher Brown's "1946"
Jules Olitski "Burn and Glitter" commands the wall on the second floor.
Pink, white, red + black, gray = Rothko.
Peter Voulkos stoneware sculpture "Untitled Stack," with Franz Kline "Figure 8" on the wall in the background.
Richard Diebenkorn's "Ocean Park #60" is 7.75' x 6.75'. Diebenkorn created 145 paintings in his Ocean Park series.
Tony DeLap's dark, round "Erdnase" forms a sort of counterpoint to Robert Therrien's pair of "No title (flagpole)" bronze sculpture and "No title (flagpole)" oil painting.
Mary Weatherford's "Black Painting." Weatherford was inspired by the glow of neon signs against twilight high desert skies when she was a visiting artist at CSU Bakersfield. She intended for the neon light's electric cords and connecting box to be visible in front of the canvas as a part of the art.
A view from the second floor.
.