Recent Acquistions

Ruth Asawa, Chair with Six Bars #2, 1959

Marker on paper
34.25h x 26.50w in
87h x 67.31w cm

While known primarily as a for her iconic hanging wire sculpture, Ruth Asawa had a lifelong drawing practice. This series was done in monochromatic marker. When you look at this drawing, it reflects many of the same qualities of her sculpture: the play of positive and negative space, and the dance of simplicity and complexity in the same space.

 

This is related to Chair, 1965 in the collection of the Museum of Modern Art, New York.

Raymond Jonson, Untitled, 1937

Watercolor & casein on paper
20h x 29w in
50.80h x 73.66w cm

This is a very rare example of Jonson’s work on the eve of forming the Transcendental Painting Group in 1938.  Jonson only completed 8 watercolors in 1937.  While some of his later abstractions would be more geometric and hard-edged, this work reflects the artist’s connection to more organic forms and the colors remind us of his earlier Earth Rhythms series of the late 1920s.

Judy Chicago, Creation of the World PP1 (Petit Point 1), 1984

Petit point
10.50h x 15w in
26.67h x 38.10w cm

This is one of the most engaging works from The Birth Project. The Birth Project (1980–1985), which grew directly out of her research for The Dinner Party, was Chicago’s direct response to the absence of imagery related to birthing as one of the most foundational female experiences. As with The Dinner Party, she relied on the help of collaborators, creating the 80+ works in this series with the help of female volunteers all over the United States, Canada, and New Zealand. 

Andrew Dasburg, Untitled (New Mexico Church, Near Abiquiu), ca. 1922

Oil on canvas on board
13h x 16.25w in
33.02h x 41.28w cm


With all of the classic elements found in Dasburg’s paintings: the road, the church, the fields, mountains and New Mexico sky…and even the Pedernal, this painting is one of the most complete works by the artist and is made even more powerful by its intimate size.

“Andrew Dasburg’s first decade in New Mexico coincided with his maturation as an artist, as he distilled his knowledge of European modernism into a personal style,  with Cézanne’s influence always remaining in the fore…”
“Few artists had as great a role in the spread of Cézanne’s innovations and European modernism in the Southwest as Dasburg….”.  (excerpted from essay by Jerry N. Smith in Cézanne and American Modernism)

Edward Corbett, Untitled No. 7, 1948

Edward Corbett, Untitled No. 7, 1948
Casein & crayon on board
22 x 27.5 inches
55.88 x 69.85 cm

This work was created while Ed Corbett was teaching at the California School of Fine Arts, San Francisco. During these years he taught alongside Clyfford Still, Mark Rothko and Richard Diebenkorn, who was a dear friend. Corbett’s work from this early San Francisco period is very rare, and this has the added cachet of having been exhibited at the San Francisco Museum of Art in 1949. It is a symphony of form and color.

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