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She the Question, Planets & Sword
She the Question, Planets & Sword

She the Question, Planets & Sword

Artist (American, born 1975)
Date2012
Period21st century
MediumArchival lightjet print
DimensionsObject size: 16 × 16 3/4 inches
Frame size: 20 × 20 3/4 inches
Credit LinePurchase with funds provided by the Barbara P. and Robert P. ’64 Youngman Acquisition Fund for Asian Art
Object number2016.011
Curatorial DepartmentModern & Contemporary Art
_Place of OriginUnited States
Scarred Chest from the series Branded
Scarred Chest from the series Branded
Hank Willis Thomas
2003
Object number: 2011.005
Vesna (with mirror)
Vesna (with mirror)
Phil Collins
2001
Object number: 2009.049
La Garde-Malade. Décidément, il n’y a que les fruitières pour vous procurer de belles connaissances. Un épileptique, un hydrophobe et une folle!….. si l’épicier pouvait me faire avoir avec ça la maladie de poitrine qu’il m’a promise, c’est ça qui me ferait joliment du bien! [The Nurse. No question, the fruit vendors are the only ones who introduce you to interesting cases… an epileptic, a hydrophobic, and a lunatic!… And if the vendor could get me that case of tuberculosis he promised, it would really do me some good!] from the series Bohémiens de Paris, number 15, published in Le Charivari
La Garde-Malade. Décidément, il n’y a que les fruitières pour vous procurer de belles connaissances. Un épileptique, un hydrophobe et une folle!….. si l’épicier pouvait me faire avoir avec ça la maladie de poitrine qu’il m’a promise, c’est ça qui me ferait joliment du bien!
[The Nurse. No question, the fruit vendors are the only ones who introduce you to interesting cases… an epileptic, a hydrophobic, and a lunatic!… And if the vendor could get me that case of tuberculosis he promised, it would really do me some good!]
from the series Bohémiens de Paris, number 15, published in Le Charivari
Honoré Daumier
published May 22, 1842
Object number: 1981.019
Sword sharpener
Sword sharpener
Anonymous (Indian)
c. 1850
Object number: 2012.024
Sword Blade
Sword Blade
Anonymous (Chinese)
Object number: 1974.022
Tuareg Decorative Sword in Scabbard
Tuareg Decorative Sword in Scabbard
Anonymous (Nigerien)
Object number: 1986.265
Atlanta, Georgia from the series Memories of the Southern Civil Rights Movement An anonymous woman, who has come upon a mob abusing demonstrators with kicks, blows, and burning cigarettes. She holds the mob at bay and protects the demonstrators.
Atlanta, Georgia from the series Memories of the Southern Civil Rights Movement
An anonymous woman, who has come upon a mob abusing demonstrators with kicks, blows, and burning cigarettes. She holds the mob at bay and protects the demonstrators.
Danny Lyon
1963-64, winter
Object number: 2001.010.23
62. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
62. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.062
63. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
63. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.063
64. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
64. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.064
65. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
65. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.065
66. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
66. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.066