Venus de Milo with Drawers

Salvador Dali, 1936, Surrealism

Untitled, #264

Cindy Sherman, 1992, Chromogenic print, Solomon R. Guggenheim Museum, New York Purchased with funds contributed by the International Director's Council and Executive Committee Members: Edythe Broad, Elaine Terner Cooper, Dimitris Daskalopoulos, Harry David, Gail May Engelberg, Nicki Harris, Ronnie Heyman, Dakis Joannou, Barbara Lane, Sondra Mack, Linda Macklowe, Peter Norton, Willem Peppler, Tonino Perna, Elizabeth Richebourg Rea, Simonetta Seragnoli, David Teiger, and Elliot K. Wolk, 2002

“Since the late 1970s, Cindy Sherman has been engaged in a body of photographic work that confronts the assumptions of various representational formats, from cinema and television to fashion photography to history painting.

The figure in Untitled, #264 (1992) has an anatomy of pure plastic. Her coquettish pose, that of centerfold pinup, is complicated by the forbidding gas mask she wears. Here, Sherman is no doubt contemplating the artifice, absurdities, and occasional violence of pornography.” — Jennifer Blessing

Scale Relationship Series – The Giant

Cindy Sherman, 1976, 36 cut-out gelatin silver prints, mounted to paperboard, Solomon R. Guggenheim Museum, New York Purchased with funds contributed by the International Director's Council and Executive Committee Members: Eli Broad, Elaine Terner Cooper, Ronnie Heyman, J. Tomilson Hill, Dakis Joannou, Barbara Lane, Robert Mnuchin, Peter Norton, Thomas Walther, and Ginny Williams, 1997

Vase Woman II

Alexander Archipenko, 1919, Solomon R. Guggenheim Museum, New York, Gift, Estate of Katherine S. Dreier, 1953

Niagara

Jeff Koons, 2000, Solomon R. Guggenheim Museum, New York Commissioned by Deutsche Bank AG in consultation with the Solomon R. Guggenheim Foundation for the Deutsche Guggenheim, Berlin

The philosophy in the bedroom

Rene Magritte, 1962; Belgium, Surrealism

Philosophy in the bedroom

Rene Magritte, 1947; Brussels, Belgium, Surrealism

Representation La Représentation

Rene Magritte, 1937; Brussels, Belgium, Surrealism: Scottish National Gallery of Modern Art, Edinburgh, UK

The Venus of Alexandria (Venus Blue)

Yves Klein, 1962, Nouveau Réalisme

Venus de Milo with Drawers

Salvador Dali, 1936, Surrealism

Dos mujeres

Enrique Grau, 1971, Neo-Figurative Art

Painted Lady

Erika Verzutti, 2012, Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund, 2014

MEDIUM: Bronze and pigmented wax

"Formed from bronze casts of bananas, pomegranates, and other fruits, and inhabiting an ambiguous space between representation and abstraction, Painted Lady has an uncanny anthropomorphic quality that is also found in works by Louise Bourgeois and Eva Hesse, as well as in those of Brazilian artists Tarsila do Amaral and Maria Martins. Erika Verzutti has characterized her practice as mirroring the process of natural growth; in Painted Lady, this takes the form of a totem pole. Echoing Brancusi’s Endless Column sculptures of the early twentieth century, the artist forges a link between established modernist methodologies and less outwardly rational ways of working."

Venus on Fire

Erika Verzutti, 2013, Bronze, Solomon R. Guggenheim Museum, New York Guggenheim UBS MAP Purchase Fund, 2014

"While Erika Verzutti aims to distill the essential physical qualities of natural objects, her sculptures also have a symbolic aura. Rather than attempting to capture an objective truth about her subjects, the artist presents the results of an intuitive process of material transformation. In Venus on Fire, organic forms derived from pumpkin, Annona muricata (commonly known as cherimoya, graviola, guanábana, or soursop), and Annona squamosa (fruta do conde or sugar-apple) are endowed with allusions to archeology (specially to the Paleolithic Venus of Willendorf) and ethnography, and are given a fertile erotic charge."