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NOTICE
The area you are clicking on is located in a different exhibition. Click continue to open the exhibits panel and change exhibitions.
The exhibit displayed is part of the UNF Gallery At MOCA and is titled "Multiple Ones"


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NOTICE
The area you are clicking on is located in a different exhibition. Click continue to open the exhibits panel and change exhibitions.


The exhibit displayed is part of the UNF Gallery At MOCA and is titled "Multiple Ones"


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ALEXANDER CALDER
(American, 1898 - 1976)
Red Triangles and Polygons, 1974


Hanging mobile of sheet metal
Gift of Mr. Duncan M. Cocke in Memory of Minnie Cole, 1990.11


HTMLText_40005119_5CA7_FC80_41B2_A15EE38B2096_mobile.html =
ALEXANDER CALDER
(American, 1898 - 1976)
Red Triangles and Polygons, 1974


Hanging mobile of sheet metal
Gift of Mr. Duncan M. Cocke in Memory of Minnie Cole, 1990.11


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ROBERT INDIANA
(American, 1928-2018)
Color serigraph
Courtesy of Drs. Barbara Sharp and Todd Sack


Like many of his contemporaries in New York in the late 50s, Robert Indiana began his career creating sculptural assemblages made from found industrial components. The discovery of 19th century brass stencils led to the incorporation of brightly colored numbers and words in his work. This became the basis of the painterly vocabulary he would become best known for, including his iconic LOVE sculpture, and would earn him a place as a major representative of the Pop Art movement. The Numbers series first appeared in 1961. In 1968 he would produce the Numbers Portfolio, a collaboration with the poet Robert Creeley, one of many unique collaborative projects Indiana would undertake throughout his life.


HTMLText_4070A3C2_5DEB_E383_416C_2FE849886177_mobile.html =
ROBERT INDIANA
(American, 1928-2018)
Color serigraph
Courtesy of Drs. Barbara Sharp and Todd Sack


Like many of his contemporaries in New York in the late 50s, Robert Indiana began his career creating sculptural assemblages made from found industrial components. The discovery of 19th century brass stencils led to the incorporation of brightly colored numbers and words in his work. This became the basis of the painterly vocabulary he would become best known for, including his iconic LOVE sculpture, and would earn him a place as a major representative of the Pop Art movement. The Numbers series first appeared in 1961. In 1968 he would produce the Numbers Portfolio, a collaboration with the poet Robert Creeley, one of many unique collaborative projects Indiana would undertake throughout his life.


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FONCHEN LORD
(American, 1911 - 1993)
Standing Fold #4, 1982


Aluminum, lacquer
Gift of the Artist, 1983.56




HTMLText_422BD7BC_5D9F_A387_41D6_6F33B3CCC9F6_mobile.html =
FONCHEN LORD
(American, 1911 - 1993)
Standing Fold #4, 1982


Aluminum, lacquer
Gift of the Artist, 1983.56




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JESÚFAEL SOTO
(Venezuelan, 1923 - 2005)
Multiple #2, 1969


Plexiglas and steel Gift of Donald and Maria Cox, 2009.03.28
Soto is known for his large scale visually vibrating kinetic installations and internationally recognized as a key figure in the Op Art movement. Throughout his career he worked in a range of media and techniques but settled his focus on geometric forms by 1965. Soto’s maquette Multiple #2, is part of his Jai-Alai series which consists of nine optical and kinetic works: five sculptures and four screen prints on Plexiglas.
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JESÚ́S RAFAEL SOTO
(Venezuelan, 1923 - 2005)
Multiple #2, 1969



Plexiglas and steel Gift of Donald and Maria Cox, 2009.03.28
Soto is known for his large scale visually vibrating kinetic installations and internationally recognized as a key figure in the Op Art movement. Throughout his career he worked in a range of media and techniques but settled his focus on geometric forms by 1965. Soto’s maquette Multiple #2, is part of his Jai-Alai series which consists of nine optical and kinetic works: five sculptures and four screen prints on Plexiglas.
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MAYA HAYUK
(American, born 1969)
Multiverse, 2014


Acrylic on panel
Gift of Preston H. Haskell in memory of Arthur W. Milam, 2016.02




HTMLText_430FC6D9_5D99_6580_41CE_F8D325965D5C_mobile.html =
MAYA HAYUK
(American, born 1969)
Multiverse, 2014


Acrylic on panel
Gift of Preston H. Haskell in memory of Arthur W. Milam, 2016.02




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PAUL REED
(American, 1919- 2015)
Thalen G, 1965
Acrylic on Canvas
Gift of the Artist 1970.29


Reed was active in the Washington Color School, along with artist such as Helen Frankenthaler, Sam Gilliam, and Kenneth Noland. This Washington based group of artists worked to develop compositions that were grounded in geometry, often melding the hard-edge forms with the movement with paint pouring techniques. Works such as Thalen G. juxtapose the fully gestural and unstructured forms produced by artists of the New York School.
HTMLText_432ABE8F_5D9B_6581_4155_F3630D6B25C2_mobile.html =
PAUL REED
(American, 1919- 2015)
Thalen G, 1965
Acrylic on Canvas
Gift of the Artist 1970.29



Reed was active in the Washington Color School, along with artist such as Helen Frankenthaler, Sam Gilliam, and Kenneth Noland. This Washington based group of artists worked to develop compositions that were grounded in geometry, often melding the hard-edge forms with the movement with paint pouring techniques. Works such as Thalen G. juxtapose the fully gestural and unstructured forms produced by artists of the New York School.
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JOSEPH KOSUTH
(American, born 1945)
Untitled, 1964
Collage
Norman E. Fisher Collection, 1979.52


Kosuth is widely recognized as a foundational figure in the move toward Conceptual Art, and a pioneer in the inquiry into the relation of language and art. His revolutionary text “Art After Philosophy” written in 1968-1969 was created in direct opposition to formalist analysis, putting forward the notion that art, as he put it, "was not a question of forms and colors but one of the production of meaning." In this collage, made while still a student, we see him testing the expressive capacity of the language of forms.


HTMLText_444D0FFE_5C9B_A383_41C9_EBE6CD9A23FC_mobile.html =
JOSEPH KOSUTH
(American, born 1945)
Untitled, 1964
Collage
Norman E. Fisher Collection, 1979.52



Kosuth is widely recognized as a foundational figure in the move toward Conceptual Art, and a pioneer in the inquiry into the relation of language and art. His revolutionary text “Art After Philosophy” written in 1968-1969 was created in direct opposition to formalist analysis, putting forward the notion that art, as he put it, "was not a question of forms and colors but one of the production of meaning." In this collage, made while still a student, we see him testing the expressive capacity of the language of forms.


HTMLText_44B4B06F_5C99_9C81_41BB_EAF46E1E64BC.html =
NANCY MILLER
(American, 1927 - 2010)
Geometric SA, 1972


Cut paper construction Gift of Donald and Maria Cox, 2009.03.14


HTMLText_44B4B06F_5C99_9C81_41BB_EAF46E1E64BC_mobile.html =
NANCY MILLER
(American, 1927 - 2010)
Geometric SA, 1972


Cut paper construction Gift of Donald and Maria Cox, 2009.03.14


HTMLText_44E53B62_5C9F_AC83_41BC_4B41208ABB41.html =
JOSEF ALBERS
(German, 1888- 1976)
Embossed Linear Construction ELC 2-B, 1969


Embossing
Gift of Ms. Peggy Lombardo in Memory of the late Dr. Samuel S. Lombardo
1987.36


HTMLText_44E53B62_5C9F_AC83_41BC_4B41208ABB41_mobile.html =
JOSEF ALBERS
(German, 1888- 1976)
Embossed Linear Construction ELC 2-B, 1969


Embossing
Gift of Ms. Peggy Lombardo in Memory of the late Dr. Samuel S. Lombardo
1987.36


HTMLText_45541246_5CA8_9C83_4198_87C63C2037BE.html =
DAMIEN HIRST
(British, b. 1965)
Methamphetamine, 2004
162 Color etching
Courtesy of Regency Centers


Though, perhaps, best known for his diamond encrusted skull, or his provocative installations featuring animals suspended in formaldehyde, Hirst has been developing various iterations of his Spot Paintings and prints since 1986. Methamphetamine is an example of this continued series. Every dot is mathematically aligned so that the diameter is equal to its adjacent negative space and no color is repeated.


HTMLText_45541246_5CA8_9C83_4198_87C63C2037BE_mobile.html =
DAMIEN HIRST
(British, b. 1965)
Methamphetamine, 2004
162 Color etching
Courtesy of Regency Centers



Though, perhaps, best known for his diamond encrusted skull, or his provocative installations featuring animals suspended in formaldehyde, Hirst has been developing various iterations of his Spot Paintings and prints since 1986. Methamphetamine is an example of this continued series. Every dot is mathematically aligned so that the diameter is equal to its adjacent negative space and no color is repeated.


HTMLText_45685820_5C9B_6C80_41B1_82997EED5B31.html =
JOSEF ALBERS
(German, 1888- 1976)
Embossed Linear Construction ELC 1-A, 1969


Embossing
Gift of Ms. Peggy Lombardo in Memory of the late Dr. Samuel S. Lombardo
1987.36


HTMLText_45685820_5C9B_6C80_41B1_82997EED5B31_mobile.html =
JOSEF ALBERS
(German, 1888- 1976)
Embossed Linear Construction ELC 1-A, 1969


Embossing
Gift of Ms. Peggy Lombardo in Memory of the late Dr. Samuel S. Lombardo
1987.36


HTMLText_4689BB66_5DF9_AC80_41CF_773310B2F0A0.html =
JASPER JOHNS
(American, b. 1930)
Red, Yellow, Blue, 1980
Lithograph


Courtesy of Drs. Barbara Sharp and Todd Sack
A towering figure in American post war art, Jasper Johns’ work eschews labeling, even though he is often grouped within the Pop Art movement. This is due to his use of commonplace symbols and objects, such as flags, maps, targets, letters and numbers, in his paintings; or beer cans, light bulbs, and paint brushes, in his sculptures. By using self-referential motifs as “subject matter”, he sought to bring the attention of the viewer away from illusion to the process of artmaking itself, and the creation of meaning. Considered a master printer, his experimentations with the process of lithography and serigraphy throughout his career is rivalled only by that of his contemporary peer Robert Rauschenberg.
HTMLText_4689BB66_5DF9_AC80_41CF_773310B2F0A0_mobile.html =
JASPER JOHNS
(American, b. 1930)
Red, Yellow, Blue, 1980
Lithograph



Courtesy of Drs. Barbara Sharp and Todd Sack
A towering figure in American post war art, Jasper Johns’ work eschews labeling, even though he is often grouped within the Pop Art movement. This is due to his use of commonplace symbols and objects, such as flags, maps, targets, letters and numbers, in his paintings; or beer cans, light bulbs, and paint brushes, in his sculptures. By using self-referential motifs as “subject matter”, he sought to bring the attention of the viewer away from illusion to the process of artmaking itself, and the creation of meaning. Considered a master printer, his experimentations with the process of lithography and serigraphy throughout his career is rivalled only by that of his contemporary peer Robert Rauschenberg.
HTMLText_482556F2_5C69_6580_41C2_4E914B6E6BED.html =
ROBERT RYMAN
(American, 1930-2019)
Untitled, 1971


Lithograph
Private Collection


Ryman’s rigorous exploration of the color white places him within the monochrome painting, Minimalist, and Conceptual art movements. The white-on-white canvases, seemingly without subject matter, allowed the artist to draw attention instead to the variety of techniques, materials, textures and surfaces employed, the relationship of the painting to the wall, and to the play of light and shadow.


HTMLText_482556F2_5C69_6580_41C2_4E914B6E6BED_mobile.html =
ROBERT RYMAN
(American, 1930-2019)
Untitled, 1971


Lithograph
Private Collection


Ryman’s rigorous exploration of the color white places him within the monochrome painting, Minimalist, and Conceptual art movements. The white-on-white canvases, seemingly without subject matter, allowed the artist to draw attention instead to the variety of techniques, materials, textures and surfaces employed, the relationship of the painting to the wall, and to the play of light and shadow.


HTMLText_52D6C034_4B90_F46E_41B0_11F5A8F4FA8D.html =
NANCY MILLER
(American, 1927 - 2010)
Geometric SA, 1972


Cut paper construction Gift of Donald and Maria Cox, 2009.03.14


HTMLText_52D6C034_4B90_F46E_41B0_11F5A8F4FA8D_mobile.html =
NANCY MILLER
(American, 1927 - 2010)
Geometric SA, 1972


Cut paper construction Gift of Donald and Maria Cox, 2009.03.14


HTMLText_5C4318F5_4B93_D5EF_41AB_3243853D07AE.html =
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
HTMLText_5C4318F5_4B93_D5EF_41AB_3243853D07AE_mobile.html =
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
HTMLText_70CD916A_5C67_9C83_41C6_DD98093E3C64.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.


Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida


Il Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_70CD916A_5C67_9C83_41C6_DD98093E3C64_mobile.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.



Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida



Il Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_70CDEC8E_5C78_A580_418C_716F61F768F5.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.


Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida


Il Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_70CDEC8E_5C78_A580_418C_716F61F768F5_mobile.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.


Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida



Il Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_70E0DBE8_5C79_E380_41B9_DCFE44808467.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.


Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida


Il Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_70E0DBE8_5C79_E380_41B9_DCFE44808467_mobile.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.



Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida



Il Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_71C48A08_5C6B_AC8F_41C3_5D29B29219DA.html =
GORDON HOUSE
(British, 1932 - 2004)
Triangle E, 1971


Screenprint on paper
Gift of the Friends of the Jacksonville Art Museum, 1985.103



HTMLText_71C48A08_5C6B_AC8F_41C3_5D29B29219DA_mobile.html =
GORDON HOUSE
(British, 1932 - 2004)
Triangle E, 1971


Screenprint on paper
Gift of the Friends of the Jacksonville Art Museum, 1985.103



HTMLText_71C97B3A_5C7B_EC80_41D4_C5306E44CCEB.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.


Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida


Il Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_71C97B3A_5C7B_EC80_41D4_C5306E44CCEB_mobile.html =
LEONARDO DA VINCI
(Italian, 1452-1519)
from Codex Atlanticus, 1894-1904, folios CCXC, DCLXXXV, DCCXXXXVIII, CCCXXXVIII, Ed. 274/280, facsimile edition.


Courtesy of the Thomas G. Carpenter Library Special Collections and University Archives, University of North Florida, Jacksonville, Florida


l Codice Atlantico, known as the Codex Atlanticus -- so named because Da Vinci used oversized sheets that were normally utilized for geographic Atlases--, was published in Milan, 1894-1904. It is the biggest collection of Da Vinci papers and covers his full career. It consists of 401 folio sheets, all unbound. The folio sheets contain notebooks, sketches, drawings and other manuscripts written by Da Vinci between 1483 and 1518, with 1384 plates that show his remarkable versatility and gifts as an artist, inventor, engineer and mathematician.
Scan the QR code here for the full digitized version of this extraordinary collection!



HTMLText_71EFCDDF_5C69_A781_41D5_E5353CD4EED8.html =
ELLSWORTH KELLY
(American, 1923 - 2015)
Green/Red-Orange/Blue, 1971


Silkscreen
Emmett Broward Memorial
Fund and N.E.A. Purchase Grant 1976.09


The artistic style that Kelly employs is defined as “Hard Edge,” a term coined by art historian Jules Langsner in the late 1950s, and characterized by distinct, abrupt color changes in conjunction with geometric abstractions. Unlike many artists working within Hard-edge abstraction, Kelly’s works were based on specific real-world observations which he then translated into simplified combinations of form and color.


HTMLText_71EFCDDF_5C69_A781_41D5_E5353CD4EED8_mobile.html =
ELLSWORTH KELLY
(American, 1923 - 2015)
Green/Red-Orange/Blue, 1971


Silkscreen
Emmett Broward Memorial
Fund and N.E.A. Purchase Grant 1976.09



The artistic style that Kelly employs is defined as “Hard Edge,” a term coined by art historian Jules Langsner in the late 1950s, and characterized by distinct, abrupt color changes in conjunction with geometric abstractions. Unlike many artists working within Hard-edge abstraction, Kelly’s works were based on specific real-world observations which he then translated into simplified combinations of form and color.


HTMLText_7400AF60_5C6B_64BF_41C6_0729CF7696AA.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_7400AF60_5C6B_64BF_41C6_0729CF7696AA_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_741FB6CE_5C68_A583_41D4_DB4C104528C0.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_741FB6CE_5C68_A583_41D4_DB4C104528C0_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_742D7C96_5C68_A580_41BC_6220956B91DD.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_742D7C96_5C68_A580_41BC_6220956B91DD_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10



Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_743C8623_5C6B_E481_41D3_D63F3F1DDAFA.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_743C8623_5C6B_E481_41D3_D63F3F1DDAFA_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_7449C3EF_5C68_A381_41BC_4CF8A8B4187D.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_7449C3EF_5C68_A381_41BC_4CF8A8B4187D_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10



Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_744D8202_5C67_9C83_41D0_AF604AAB05D2.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_744D8202_5C67_9C83_41D0_AF604AAB05D2_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10



Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_7452404C_5C69_7C87_41C7_019EC0B48320.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_7452404C_5C69_7C87_41C7_019EC0B48320_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10



Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_746C40B4_5C69_BD87_41C2_DAAEB48CB866.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_746C40B4_5C69_BD87_41C2_DAAEB48CB866_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10



Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


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RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


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RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_758D5B31_5D9B_6C81_41BB_D086F2753606.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


HTMLText_758D5B31_5D9B_6C81_41BB_D086F2753606_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10



Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.


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RICHARD SERRA
(American, born 1938)
Trapezoid, 1972


Lithograph on paper
Norman E. Fisher Collection, 1979.109


One of the preeminent figures in 20th century American sculpture, Serra is best known for his large-scale cor-ten steel works that test the limits of gravity and visual balance. Even in a two-dimensional medium, Serra manages to give his subject visual weight; he achieves this by mathematically situating the shape in a way in which it reads as an isosceles trapezoid that is foreshortened and jutting off the paper.



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RICHARD SERRA
(American, born 1938)
Trapezoid, 1972


Lithograph on paper
Norman E. Fisher Collection, 1979.109



One of the preeminent figures in 20th century American sculpture, Serra is best known for his large-scale cor-ten steel works that test the limits of gravity and visual balance. Even in a two-dimensional medium, Serra manages to give his subject visual weight; he achieves this by mathematically situating the shape in a way in which it reads as an isosceles trapezoid that is foreshortened and jutting off the paper.



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ELLSWORTH KELLY
(American, 1923 - 2015)
Untitled, 1967


Silkscreen on paper
Norman E. Fisher Collection, 1979.142




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ELLSWORTH KELLY
(American, 1923 - 2015)
Untitled, 1967


Silkscreen on paper
Norman E. Fisher Collection, 1979.142




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CHRISTOPHER WATTS
(British, born 1947)
Four Planes; 1 on Top of 2 on Top of 3 on Top of 4. Folded Behind, 1977


Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.002



Four Planes; 1 on Top of 2 on Top of 3 on Top of 4. Folded Forward, 1977


Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.003



Four Planes; 4 on Top of 3 on Top of 2 on Top of 1. Folded Behind, 1977


Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.004



Four Planes; 4 on Top of 3 on Top of 2 on Top of 1. Folded Forward, 1977


Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.005



Four Planes; Assembled, 1977


Pencil and ink on paper Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D., 1991.04.01



Watts explores order, placement and patterning, and uses numerical patterns and sequential relationships to create intimate designs. Many of his serial works derive their pattern from classical geometry, such as the Fibonacci sequence; a series of numbers in which each number is the sum of the previous two. This sequence is found throughout nature, such as in rose petals, or the branching of trees, but has also been used as a composition tool in Western art since the Renaissance.


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CHRISTOPHER WATTS
(British, born 1947)


Four Planes; 1 on Top of 2 on Top of 3 on Top of 4. Folded Behind, 1977
Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.002



Four Planes; 1 on Top of 2 on Top of 3 on Top of 4. Folded Forward, 1977
Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.003



Four Planes; 4 on Top of 3 on Top of 2 on Top of 1. Folded Behind, 1977
Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.004



Four Planes; 4 on Top of 3 on Top of 2 on Top of 1. Folded Forward, 1977
Pencil and ink on paper
Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D. 1991.0004.005



Four Planes; Assembled, 1977
Pencil and ink on paper Gift of Hugh A. Carithers, M.D. in Memory of Cornelia M. Carithers, M.D., 1991.04.01



Watts explores order, placement and patterning, and uses numerical patterns and sequential relationships to create intimate designs. Many of his serial works derive their pattern from classical geometry, such as the Fibonacci sequence; a series of numbers in which each number is the sum of the previous two. This sequence is found throughout nature, such as in rose petals, or the branching of trees, but has also been used as a composition tool in Western art since the Renaissance.


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BEVERLY PEPPER
(American, 1922 - 2020)
Maquette for Civic Sculpture, 1969


Enameled chrome Gift of Jacksonville Arts Festival, 1969.51
Pepper began her career as a painter but resolved to become a sculptor in the 1960s after observing the beauty and grandeur of the Cambodian temple, Angkor Wat. She broke through countless gender barriers working with male-dominated materials (iron and steel) and techniques (welding), becoming an acclaimed international artist of her time. Her public works can be found all over the world. “The abstract language of form that I have chosen has become a way to explore an interior life of feeling. In this way, my forms mirror emotional reality.”


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BEVERLY PEPPER
(American, 1922 - 2020)
Maquette for Civic Sculpture, 1969



Enameled chrome Gift of Jacksonville Arts Festival, 1969.51
Pepper began her career as a painter but resolved to become a sculptor in the 1960s after observing the beauty and grandeur of the Cambodian temple, Angkor Wat. She broke through countless gender barriers working with male-dominated materials (iron and steel) and techniques (welding), becoming an acclaimed international artist of her time. Her public works can be found all over the world. “The abstract language of form that I have chosen has become a way to explore an interior life of feeling. In this way, my forms mirror emotional reality.”


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ROBERT MOORHEAD
(American, b. 1947)
Hesperia, 1970


Acrylic on canvas
Gift of Mrs. John Foultz 1978.27


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ROBERT MOORHEAD
(American, b. 1947)
Hesperia, 1970


Acrylic on canvas
Gift of Mrs. John Foultz 1978.27


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JIM BRAY
(American, born 1933)
Untitled, 1970


Screenprint on paper Gift of the artist, 1970.33


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JIM BRAY
(American, born 1933)
Untitled, 1970


Screenprint on paper Gift of the artist, 1970.33


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ALFRED JENSEN
(American, born Guatemala, 1903 - 1981)
Untitled, 1973


Serigraph on paper
Anonymous Gift, 1985.105


Jensen worked with a limited palette, relying mostly on primary colors, to create his densely packed compositions. He was by age and by training a contemporary of the Abstract Expressionists. He studied with Hans Hoffman, was friends with Mark Rothko and Sam Francis, and began painting in the gestural style characteristic of artists of the New York school. But in 1957 Jensen turned away from expressive gesture in favor of a more hard-edged geometry. His subsequent works could be described as decorative, as the geometric patterns he employed created beautiful compositions akin to Islamic rugs and tiles.



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ALFRED JENSEN
(American, born Guatemala, 1903 - 1981)
Untitled, 1973
Serigraph on paper
Anonymous Gift, 1985.105



Jensen worked with a limited palette, relying mostly on primary colors, to create his densely packed compositions. He was by age and by training a contemporary of the Abstract Expressionists. He studied with Hans Hoffman, was friends with Mark Rothko and Sam Francis, and began painting in the gestural style characteristic of artists of the New York school. But in 1957 Jensen turned away from expressive gesture in favor of a more hard-edged geometry. His subsequent works could be described as decorative, as the geometric patterns he employed created beautiful compositions akin to Islamic rugs and tiles.



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SOL LEWITT
(American, 1928 - 2007)
Five Forms Derived from a Cube, 1982


Woodcut on paper
Gift of Preston H. Haskell, 2015.07.11-15


Together with Joseph Kosuth, LeWitt helped establish Conceptual Art and Minimalism as major movements, both through his writings and his work. Emphasizing the primacy of the idea in art, he reduced his vocabulary to geometric shapes, basic colors, and lines. He is most well-known for his large-scale wall drawings and modular “structures”, a term he preferred to that of sculpture for his three-dimensional work. Five Forms Derived from a Cube, is an example of his varied systematic two-and three-dimensional sequential series, using the cube.



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SOL LEWITT
(American, 1928 - 2007)
Five Forms Derived from a Cube, 1982


Woodcut on paper
Gift of Preston H. Haskell, 2015.07.11-15



Together with Joseph Kosuth, LeWitt helped establish Conceptual Art and Minimalism as major movements, both through his writings and his work. Emphasizing the primacy of the idea in art, he reduced his vocabulary to geometric shapes, basic colors, and lines. He is most well-known for his large-scale wall drawings and modular “structures”, a term he preferred to that of sculpture for his three-dimensional work. Five Forms Derived from a Cube, is an example of his varied systematic two-and three-dimensional sequential series, using the cube.



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GENEVIEVE ARNOLD
(American, 1928 - 2005)
Space and Moment, 1967


Oil on wood panel
Gift of the Artist, 1970.15


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GENEVIEVE ARNOLD
(American, 1928 - 2005)
Space and Moment, 1967


Oil on wood panel
Gift of the Artist, 1970.15


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RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.



HTMLText_9F55A742_8502_3F01_41DD_C046EB8AFD2A_mobile.html =
RICHARD ANUSZKIEWICZ
(American, 1930 - 2020)
The Inward Eye, 1970


Silkscreen on paper (portfolio of 10)
Gift of Lu Ann Bear in memory of Jack and Marcelle Bear, 2007.02.01-10


Anuszkiewicz is considered one of the founders of the Op Art movement, a movement that explored the nature of color and visual perception using simple linear forms and geometric shapes. The Inward Eye offers a concise survey of the color experiments and diverse compositional approaches that characterized the artist’s early career. This series offers a complement to a style of art typically regarded as rational and scientific. The title of the series, however, comes from a poem of the 19th century poet and artist William Blake, whose principal argument was that divinity is humanity released from the limitations of reason.



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ROBERT RYMAN
(American, 1930-2019)
Untitled, 1971


Lithograph
Private Collection


Ryman’s rigorous exploration of the color white places him within the monochrome painting, Minimalist, and Conceptual art movements. The white-on-white canvases, seemingly without subject matter, allowed the artist to draw attention instead to the variety of techniques, materials, textures and surfaces employed, the relationship of the painting to the wall, and to the play of light and shadow.


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THE CIRCLE AND THE SQUARE
OCTOBER 2, 2020 - JUNE 6, 2021


Geometry and art have always been intimately connected since ancient times, from Da Vinci's use of the Rule of Thirds and the Golden Ratio, or Cezanne's famous quote “Treat nature by means of the cylinder, the sphere, and the cone”; to modern art's use of the Fibonacci spiral and other geometric principles in order to create aesthetics and visual harmony. This exhibition explores the use of geometry and mathematical concepts in contemporary art, through works in the MOCA collection, complemented by loans from local private collections.


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THE CIRCLE AND THE SQUARE
OCTOBER 2, 2020 - JUNE 6, 2021


Geometry and art have always been intimately connected since ancient times, from Da Vinci's use of the Rule of Thirds and the Golden Ratio, or Cezanne's famous quote “Treat nature by means of the cylinder, the sphere, and the cone”; to modern art's use of the Fibonacci spiral and other geometric principles in order to create aesthetics and visual harmony. This exhibition explores the use of geometry and mathematical concepts in contemporary art, through works in the MOCA collection, complemented by loans from local private collections.


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