Robert Thiele Brochure

ROBERT THIELE The Art of Containment Museum of Art – DeLand March 29 – May 26, 2019

Museum of Art - DeLand, Florida

Board of Trustees (2018-2019)

Museum of Art – DeLand Staff

Lee Downer, MGen., USAF (Ret.), President Ian Williams, Vice President Judith Thompson, Immediate Past President Mary Jeanne Ludwig, Treasurer John Wilton, Secretary Samuel Blatt Jean Burns, Museum Guild President Kelly Canova Sal Cristofano Linda Colvard Dorian Barbara Girtman Everett (Ray) Johnson Joan Lee Craig Lindsey Robin May Deborah McShane, Museum Guild Representative Greg Milliken Todd Phillips Dagny Robertson

George S. Bolge, Chief Executive Officer Pam Coffman, Curator of Education Dorothy Dansberger, Director of Finance & Operations Blaine Fairchild, Security & Maintenance David Fithian, Curator of Art & Exhibitions Tariq Gilbran, Registrar Pattie Pardee, Director of Development Teri Peaden, Manager of Downtown Galleries & Museum Store Darlene Shelton, Guest Services Receptionist Suzi Tanner, Manager of Guest Services, Membership & Events Donna Tinoco, APR, Director of Marketing

Design & Production Donna Tinoco, APR Photography Frank Casale Printing E.O. Painter Printing Co., DeLeon Springs, Florida Museum of Art – DeLand, 600 North Woodland Boulevard, DeLand, Florida, 32720 Museum of Art – DeLand Downtown, 100 North Woodland Boulevard, DeLand, Florida 32720 www.MoArtDeLand.org @MoArtDeLand

The Art of Containment: Sculpture by Robert Thiele March 29 – May 26, 2019, Museum of Art – DeLand On the cover: Mid Three (745)(Detail), 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 43 ¼ x 16 ½ inches Copyright ©2019 Museum of Art – DeLand. All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means: electronic, mechanical, photocopying, recording or any other method without the written consent by the Museum of Art – DeLand.

Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture.

THE ART OF CONTAINMENT Sculpture By

ROBERT THIELE

ACKNOWLEDGMENTS A thematic approach to exhibit-making risks imposing a system upon the work through which some attribute is extracted to fit the rigors of a demanding idea. The present exhibition was not conceived to prove a thesis, nor should its title be construed as a theme in any customary sense. Rather, the concept is intended to support the integrity of the work of art as an independent, expressive form and to celebrate, with appropriate emphasis, the oeuvre of one of the most significant, artistic figures working in Florida today.

Robert Thiele’s work embodies its own significance and conveys it to the receptive viewer even before its matter is disclosed. The structure may be grasped on first encounter; the complexity of relationships may continue to unfold with each repeated viewing. The time frame particular to the medium of a work of art is unique character. Knowing the sculpture created by Thiele is as simple as looking, but as complicated as any deeply felt emotion or profound thought. The primary experience should be solitary and contemplative, the very conditions present at creation.

Mid Three (745), 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media 48.25 x 16 x 5 inches

I would like to express my special gratitude to Robert Thiele, whose artistic achievements have been recognized both regionally and nationally by curators, collectors and critics. With admirable patience and forbearance, he permitted me to usurp time from his work to organize this show. His assistance and guidance were indispensable.

Robert Apgar, Dennis Aylward, Barbara Baugh, Bruce and Carolyn Bigman, Samuel and Donna Blatt, Bill and Terri Booth, Tom and Jean Burns, Kelly Canova, Thomas and Loretta Chudy, Earl and Patti Colvard, Jon and Vernette Conrad, Sal Cristofano and Laura Gosper, Wayne and Jewel Dickson, Robert and Linda Dorian, Lee and Susan Downer, Rich and Lilis George, Barbara Girtman, Susan Griffis, Lorna Jean Hagstrom, John and Karen Horn, Pat Heller, Betty Drees Johnson, Everett (Ray) and Betty Johnson, Ed and Pauline Lacey, Joan Lee, Craig and Tracy Lindsey, Tim and Mary Jeanne Ludwig, Robin May, David Meier, Greg and Beth Milliken, Todd Phillips, Linda Pinto, Tommy and Dagny Robertson, Stephan and Claudia Roth, William Suddaby, Judith Thompson, Ian Williams and Nancy Hutson, John and Nancy Wilton, Advent Health, Boulevard Tire Center, the Daytona Beach News-Journal, De La Vega Restaurante y Galleria, E.O. Painter Printing Company, Mainstreet Community Bank of Florida, Massey Services, Inc., R. George and Associates, United Parachute Technologies, West Volusia Beacon, Duke Energy Foundation, Lacey Family Charitable Foundation, Medtronic Foundation, Publix Supermarket Charities, Wells Fargo Foundation, Faith Hope & Charity, DeLand Breakfast Rotary, DeLand Fall Festival of the Arts, DeLand Rotary Club, Inc., Krewe of Amalee, Krewe Nouveau, Mid-Florida Community Services, Inc., Museum Guild, Orange City Blue Spring Manatee Festival, West Volusia Tourism Authority, 90.7 WMFE - FM, City of DeLand, County of Volusia and State of Florida Division of Cultural Affairs.

I would like to acknowledge the philosophical and financial support of The Board of Trustees, and its President, Ret. MGen. Lee Downer.

Finally, I would like to applaud my professional staff for their usual skill and dedication to handling the curatorial, installation and promotional tasks required to assure the success of this endeavor.

George S. Bolge CEO, Museum of Art - DeLand

THE ART OF CONTAINMENT: SCULPTURE BY ROBERT THIELE One of the great problems confronting early 20th century sculpture was that it had no Cézanne upon whom to draw. By that I mean that sculpture lacked the kind of seminal figure that painting, in the first years of the century, had in Paul Cézanne. It was Cézanne, after all – aided to a great extent by Van Gogh and Gauguin – who opened the door to 20th century painting and gave it legitimacy and direction.

Auguste Rodin, the last great sculptor of the 19th century, was, unfortunately, just that; a 19th century sculptor whose influence upon the century’s art was, for all practical purposes, nonexistent. If anything, it was against him that most of the innovative sculptors early in the century rebelled.

And so sculpture had to start out cold, had to establish its modern identity and direction all by itself.

Modernism, both in sculpture and painting, was generally viewed by early 20th century artists as either a formal truth to be pursued at all costs (a kind of artistic Holy Grail), or as a huge warehouse of pictorial devices from which the artist could pick and choose whatever seemed appropriate to the creative task at hand. Just as science was divided into pure and applied, so was art divided into what was true and what was contaminated by practical or commercial considerations.

This issue of artistic purity and formal truth became the central issue for post WWII sculptors and painters. Since perfection and truth in art have usually been associated with simplicity and cohesiveness, and more recently with irreducible form, some contemporary artists soon found themselves painting circles, squares, triangles, and lines, and sculpting the most elemental and primal of forms.

Among the latter I would include the artist Robert Thiele who reduces sculptural form to its basics: to the circle; the slab; the box; the ball; the rounded, elliptical shape that resembles a stone worn smooth in a stream; and so on.

And with these forms he creates sculpture of such simplicity and truth that it quickly becomes recognizable as part of the formal vocabulary of 20th century art.

Thiele’s creative inventiveness is so exceptional that one can almost say that he wills his work into being. But art is never created in a vacuum. There are always precedents and inspirations for everything in art, no matter how novel or unique such art may at first appear. In Thiele’s case, inspiration and precedent came from several sources: from primal sculpture, from the simplest forms in nature, and from the spirit of Minimalistic art.

He draws from all of these, but the most crucial aspect of his art comes from within himself – and that is the conviction the sculpture he envisions – is not only relevant to the times, but true to the ultimate goals to art as well.

Thiele sets about stripping sculpture down to its essentials. He distills and compacts the complex into the simple whenever he can, and becomes the “master of omission;” of knowing how to rouse the irrelevant into the relevant.

But while his art may look abstract, it never really is. If he is drawn to the perfect shape of a circle, for instance, it is not only for its form, but also because of the mystery and promise the form contains. If produced in nature, it very well might break open and life itself might emerge.

It is this profound sense of containment, of being based in life, that sets Thiele’s art apart from the more abstract work of his younger contemporaries. Even his pieces that resemble inanimate objects somehow retain a quality of “pregnancy” about them, as though they could contain life. His forms, absolutely simple as they may be, always resonate with qualities felt rather than seen.

More than most, the art of Robert Thiele is an art of indirection, of innuendo, of witty, intellectual, even outrageously startling, juxtapositions in which the point lies not so much in what the objects represent as in what they and their relationships to one another suggest or imply.

Thiele sees art more as an enigmatic shape displayed for all to enjoy and ponder.

To 148, 2013, Acid etched His objective expression is in the quiet contemplation of unique, paradox and symacrylic sheet, wood, laminated bols: what they are and how they came to be. canvas, mixed media, g.s.b 71 x 21 x 5 inches

SELECTED BIOGRAPHY 1941 1964 1966

Born, Milwaukee, Wisconsin B. B. A., Sculpture, Kent State University, Kent, Ohio M. F. A., Painting, Kent State University, Kent, Ohio

HONORS AND AWARDS 2007 1988-89 1981-82

Individual Artist Fellowship, State of Florida Individual Artist Fellowship, State of Florida Individual Artist Fellowship, State of Florida

ONE-PERSON EXHIBITIONS 2015

2013 2010 2009 2006 2004

2003 2002 2001

Untitled (3 for 8), Miami Dade College Museum of Art and Design at the Freedom Tower, Miami, Florida 3 for 8 Minus 23, Emerson Dorsch, Miami, Florida Robert Thiele, Tammen & Partner Galerie, Berlin, Germany Robert Thiele: 8-Four-9, Dorsch Gallery, Miami, Florida 30, Dorsch Gallery, Miami, FL (catalogue) Howard Scott Gallery, New York, New York Howard Scott Gallery, New York, New York Kunstlerkries Ortenau, Offenburg, Germany Barbara Gillman Gallery, Miami, Florida (catalogue) Howard Scott Gallery, New York, New York MIA Gallery, Miami International Airport, Miami, Florida (catalogue) Barbara Gillman Gallery, Miami, Florida New Work \ Miami, Miami Art Museum, Miami, Florida Barbara Gillman Gallery, Miami, Florida

2000 1997 1996 1995 1993 1989 1988 1987

1986 1983

1980 1978 1976 1974 1973

Howard Scott / M-13 Gallery, New York, New York Howard Scott / M-13 Gallery, New York, New York (catalogue) Fredric Snitzer Gallery, Coral Gables, Florida Howard Scott / M-13 Gallery, New York, New York Fredric Snitzer Gallery, Coral Gables, Florida Greene Gallery, Miami, Florida Southeastern Center for Contemporary Art, Winston-Salem, North Carolina Robert Thiele: Painting and Sculpture 1975, Hollywood Art and Culture Center (HACC) Hollywood, Florida (catalogue) Gloria Luria Gallery, Bay Harbor Islands, Florida Sculpture Space, Miami, Florida Metropolitan Museum of Art, Coral Gables, Florida The Gallery, Miami-Dade Community College, North Campus, Miami, Florida (catalogue) Meeting Point Art Center, Miami, Florida O. K. Harris Gallery, New York, New York Miami-Dade Community College, South Campus, Miami, Florida Barry College, Miami, Florida Continuum Gallery, Miami, Florida Gallery 99, Miami, Florida

Books Pao-Llosa, Ricardo Tschida, Anne Feinstein, Roni Kohen, Helen Boswell, Peter Turner, Elisa Turner, Elisa Triff, Alfredo Ocana, Damarys Turner, Elisa Ormond, Mark

“Four from Miami: McKnight, Sardi, Thiele, and Vapor,” Sculpture Magazine, December 2011 “Masters of Art,” Biscayne Times, May 2011 “Robert Thiele,” 30 review, Art in America Magazine, May 2010, Pages 163-164 “Robert Thiele,” 30 catalogue essay, Dorsch Gallery Press, 2010 “Robert Thiele: Between Revelation and Concealment,” 30 catalogue essay, Dorsch Gallery Press, 2010 “Robert Thiele,” review, ARTnews Magazine, December 2001, Page 146 “globe>Miami<island, survey of the local art scent,” Miami Herald, December 23, 2001 “Buried Treasure, Robert Thiele,” Miami New Times, June 21-27, 2001 “Getting Intimate, Robert Thiele,” Street Miami, May 18-24, 2001 “Ex-football Player Tackles his Art,” Miami Herald, May 27, 2001 “Robert Thiele,” catalogue essay, Barbara Gillman Gallery, Miami, Florida, 2001

Ratcliff, Carter Harper, Paula Kimmelman, Michael Pau-Llosa, Ricardo Kohen, Helen Kohen, Helen Huchingson, James Malloy, Nancy Rose, Matthew Jacobs, Joe Kohen, Helen Richard, Paul Allen, Jane Addams Kohen, Helen Frank, Peter Kohen, Helen Pau-Llosa, Ricardo Doussard, John Bolge, George Smith, Griffin Wolf, Jeanne

“Robert Thiele,” catalogue essay, Howard Scott / M-13 Gallery, New York, New York, 1996 “Robert Thiele,” review, Art in America Magazine, June 1996 “Ambitious Miami Reaches for a Place in the Sun,” The New York Times, March 31, 1996 “Imaginacion: Camino Que Se Bifurca,” ¡Exito!, March 20, 1996 “Critic Watched Arts Community Grow, Thrive,” Miami Herald, August 30, 1995 “North Miami’s COCA Stretches It’s Wings,” Miami Herald, April 30, 1995 “Religion and the Natural Sciences: The Range of Engagement”, Harcourt, Brace, Jovanovich, 1992 “Black + White,” review, ARTnews Magazine, M-13 Gallery, Summer, 1992 “Black + White,” catalogue essay, M-13 Gallery, New York, New York, 1992 “Made in Florida,” catalogue essay, 1992 “Show Lets 15 of Florida’s Best Shine,” Miami Herald, March 31, 1989 “The Corcoran’s 41st Biennial,” The Washington Post, April 5, 1989 “Biennial Focuses on Southern Gothic,” The Washington Times, April 5, 1989 “South Florida Artists Leaving Their Imprint on Washington,” Miami Herald, April 23, 1989 “Robert Thiele, Painting & Sculpture 1975-87,” catalogue essay, HACC, Hollywood, Florida, 1987 “Thiele’s Art is Deep, Powerful,” Miami Herald, June 5, 1987 “Deborah Schneider, Robert Thiele,” catalogue essay, MDCC North Campus, Miami, Florida, 1984 “A Sculptor Searches,” The Miami News, March 30, 1982 “Robert Thiele,” catalogue essay, The Gallery, Miami-Dade Community College, Miami, Florida, 1982 “South Florida: Expanding Museums and Mushrooming Galleries,” ARTnews Magazine, February 1975, Page 48 “Robert Thiele in Portrait,” National Educational Television Documentary, 1974

To CCCL, 2014, Acid etched acrylic sheet, wood, laminated canvas, mixed media 26 x 25.75 x 5 inches

Sixteen (367), 2015, Acid etched acrylic sheet, wood, laminated canvas, mixed media 26 x 25.75 x 5.25 inches

PUBLIC COLLECTIONS AND COMMISSIONS Center of Contemporary Art, North Miami, Florida (site sculpture) City of Miami, Florida Crandon Park Gardens, Key Biscayne, Florida (site sculpture) Florida House of Representatives, Tallahassee, Florida Florida International University, Miami, Florida (site sculpture) Kent State University, Kent, Ohio Museum of Contemporary Art, North Miami, Florida NSU Art Museum, Ft. Lauderdale, Florida PĂŠrez Art Museum Miami, Miami, Florida Patricia and Phillip Frost Art Museum, Florida International University, Miami, Florida Metropolitan Museum, Coral Gables, Florida The Museum of Art and Design at Miami Dade College, Miami, Florida State of Florida Art in Public Places Commission University of Miami, Coral Gables, Florida University of South Florida, Tampa, Florida (site sculpture)

To 908, 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 48 x 20 ¾ x 4 ¼ inches

#668 (98-09), 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media 96 x 20 x 5 inches

792 - 789 – 790 (Triptych), 2018, Wood, plaster, linen, mixed media, (H x W x D) 10 x 10 x 4 inches (left), 17 x 9.5 x 4 inches (center), 13.5 x 10.5 x 4 inches (right)

BAKATY, 1986, Glass, laminated canvas, pigment, mixed media, 9 ½ x 23 ½ x 12 ½ inches

O.L. #34, 1983, Glass, laminated cavas, pigment, wood, mixed media, 16 ½ x 20 x 8 inches

Velba, 2000-2018, Encaustic, oil, acrylic, mixed media, concrete, 14 ¾ x 10 ¾ x 8 ½ inches

CATALOGUE All works courtesy of Emerson Dorsch Gallery, Miami, Florida 1. #166, 2013, Acrylic, wood, 2 ½ x 2 ¼ x 4 ½ in.

2. #343, 2014, Mixed media, 5 x 3 ½ x 2 in.

3. #668(98-09), 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 96 x 20 x 5 in.

4. #961, 2011, Wood, acrylic, wax, 4 dia. x 4 ¼ depth in.

5. 2 TO MXV (A) To MXV (B) Diptich, 2012, Acrylic, laminated canvas, wood, mixed media, 8 x 8 x 4 ½ in. each 6. 2 TO MXVII (A) To MXVII (B) Diptich, 2012, Wood, acrylic, mixed media, laminated canvas, 7 x 7 x 4 ½ in. each 7. 4 To 634, 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 96 x 9 ¼ x 5 ¼ in.

8. 4-M-541, 2007, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 40 x 40 x 5 in.

9. 4-M-537, 2007, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 40 x 40 x 5 in.

10. 129-36, 1987, Glass, laminated canvas, photo mounted onz̄ wood, pigment, 11 ¼ x 9 x 5 ¼ in.

11. 135-99, 1995-1996, Oil on fabric over canvas, laminated canvas, wood, 29 ½ x 28 ½ x 5 in.

12. 383, 2015, Acrylic, wood, mixed media, 2 ½ dia. x 2 ½ depth in.

13. 385 (With Elmer Craig), 2015, Ceramic, wood, wax, acrylic, 5 dia. X 4 ½ depth in.

14. 502, 2017, Acrylic, wood, plaster, 2 ½ x 2 x 2 ½ in.

15. 603, 2016, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 7 ½ x 5 ½ x 5 in.

16. 625, 2017, Glass, wood, laminated canvas, mixed media, 2 dia. x 4 ½ depth in.

17. 633, 2017, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 4 x 4 x 4 ¾ in.

18. 634, 2017, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 14 x 10 x 4 ¾ in.

19. 722 (With Arezou Ghabami), 2017, Acrylic, wood, mixed media, 4 x 4 x 4 ½ in.

20. 784 – 732 (Diptich), 2018, Wood, acrylic, pigment-laminated canvas, 5 dia. x 4 depth in. (left) 9 dia. x 5 depth in. (right) 21. 792 – 789 – 790 (Triptych), 2018, Wood, plaster, linen, mixed media, 10 x 10 x 4 in. (left), 17 x 9 ½ x 4 in. (center), 13 ½ x 10 ½ x 4 in. (right) 22. 795, 2019, Clear acrylic sheet, wood, acrylic, laminated canvas, mixed media, 16 x 11 x 4 in.

23. 796-802 (7 pieces), 2019, Acrylic on wood, plaster, 4 x 3 x 4 in. each 24. 801, 2016, Acrylic, wood, plaster, mixed media, 4 ½ dia. x 4 depth in.

25. A-6 #62 (With Arezou Ghabami), 2005, Acrylic, silk, wood laminated canvas, mixed media, 8 x 6 ½ x 4 in.

26. A-6 #104, 2001, Plaster, laminated canvas, wood, 16 x 10 ½ x 4 in.

27. A-6 #116, 2000, Silk, acrylic, wood, laminated canvas, mixed media, 20 ½ x 16 ½ x 3 ¼ in.

28. A-316 (With Arezou Ghabami), 2005, Acrylic sheet, acrylic, mixed media, laminated canvas, 8 dia. X 5 depth in.

29. A-329 (With Arezou Ghabami), 2005, Glass, wood, mixed media, laminated canvas, 4 dia. X 5 depth in.

30. A 473, 2006, Acrylic, wood, 1 ¾ x 1 ¾ x 2 ½ in.

31. A-565, 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 25 ½ x 23 x 5 in.

32. A-571, 2010, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 3 ¼ x 3 ¼ x 5 in.

33. A-H, 2006, Oil on glass, wood, laminated canvas, 5 dia. X 4 ½ depth in.

34. A.L.M.A, 2014, Wood, acrylic, laminated canvas, 20 ½ x 19 x 5 in.

35. BAKATY, 1986, Glass, laminated canvas, pigment, mixed media, 9 ½ x 23 ½ x 12 ½ in.

36. Brummage, 1987, Cast concrete, wood, glass, pigment, mixed media, 48 x 40 ½ x 11 in.

37. CONWAY, 1980, Cast concrete (reinforced) glass, wood, pigment, laminated canvas, mixed media, 49 ¾ x 17 x 11 ¾ in.

38. CVIII, 2013, Mixed media, 3 x 3 x 4 ½ in.

39. Eight Straight #1-#8, 2008, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 23 ¾ x 23 ¾ x 5 in.

40. For 729, 2018, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 24 x 24 x 5 in.

41. For MCXX, 2019, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 28 ½ x 11 x 5 in.

42. Four 717, 2018, Acid etched acrylic sheet, laminated canvas, mixed media, 24 x 48 ½ x 5 in.

43. Fourteen (651-64), 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 96 x 31 x 5 ¼ in.

44. LXV1, 2013, Acrylic, wood, mixed media, 4 x 4 x 2 in.

45. LVII, 2012, Silk, wood, laminated canvas, acrylic, 3 ¾ x 3 ¾ x 4 ½ in.

46. LXXVIII, 2012, Ceramic, wax, wood, acrylic, 3 ¾ x 3 x 4 ½ in.

47. M, 2012, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 49 x 14 x 4 ½ in.

48. M-632, 2008, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 96 x 10 ¼ x 5 in.

49. M-725, 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 48 x 23 x 5 in.

50. M-754, 2009-2012, Acrylic, wood, mixed media, 5 x 3 ½ x 1 ½ in.

51. M-827, 2010, Acrylic on ceramic on wood, mixed media, 6 dia. X 5 ¼ depth in.

52. M-830, 2010, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 23 x 23 x 4 ½ in.

53. MAY 1 2007, 2007, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 40 x 40 x 5 in.

54. MID THREE (745), 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 48 x 16 x 5 in.

55. MID THREE (748), 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 48 x 16 x 5 in.

56. MIV, 2012, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 27 x 16 ¾ x 4 ¾ in.

57. O.L. #34, 1983, Glass, laminated canvas, pigment, wood, mixed media, 16 ½ x 20 x 8 in.

58. O.L. #48, 1984, Glass, pigment, laminated canvas, 17 ¾ x 15 ½ x 8 ¼ in.

59. Ten Plus (647), 2017, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 21 x 32 x 4 in.

60. The Red Studio Etc. (640-7), 2009, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 96 x 27 x 5 ¼ in.

61. The Year, 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 52 x 21 x 5 ½ in.

62. TO 148, 2013, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 71 x 21 x 5 in.

63. TO 218, 2013, Acrylic, wood, mixed media, 3 x 4 x 3 in.

64. TO 834, 2010, Acrylic on wood, mixed media, 4 dia. X 5 ½ depth in.

65. TO 908, 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 48 x 21 x 4 ¼ in.

66. TO CCXXI – CCXXV (Diptich), 2014, Acrylic on wood, mixed media, 15 ¼ x 11 x 4 ¼ in (left) 10 x 11 x 4 ¼ in. (right) 67. TO CCXXXIII, 2014, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 14 ½ x 11 ½ x 4 ½ in.

68. TO M618, 2008, Oil on glass, wood, mixed media, laminated canvas, 5 ¼ dia. X 5 depth in.

69. TO MX, 2012, Clear acrylic sheet, wood, laminated canvas, mixed media, 8 ½ x 4 ½ x 4 ¾ in.

70. TO MXXX, 2013, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 27 x 21 x 5 ½ in.

71. TO V-94, 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 76 x 48 x 5 in.

72. TRIO (501-4), 2007, Plaster, wood, laminated canvas, mixed media, 5 ¼ dia. X 5 ¼ depth in.

73. V B2 6-100, 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 40 x 40 x 5 in.

74. VARGAS, 1976, Cast concrete (reinforced) laminated canvas, steel, 48 x 17 x 11 ¾ in. (with base) 75. Velba, 2000-2018, Encaustic, oil, acrylic, mixed media, concrete, 14 ¾ x 10 ¾ x 8 ½ in.

76. Vibe 83, 2007, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 40 x 40 x 5 in.

The Year, 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 52 x 21 x 5 ½ inches

The Year (Detail), 2011, Acid etched acrylic sheet, wood, laminated canvas, mixed media, 52 x 21 x 5½ inches

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