Artwork by Patricia Buck

Work samples

Installation, Genetics:Memetics, 1998, Denver Colorado.

Genetics/Memetics, 1998.

This installation grew out of the idea of visual cultural transfer Memetics is a science which deals with the quantitative analysis of cultural transfer, and these units of cultural transfer are called ‘memes’.

Today, people use and understand the term memes freely.

A meme can be ideas, tunes, fashions, videos, or virtually any cultural or behavioral unit that can be replicated with a certain degree of fidelity.

For this project I created a maquette 1/900th of the actual room where I planned to install the piece.

The maquette design was created through cut and paste collage creating two parallel walls composed of zeroxed and collaged cultural and art history images or memes; including ‘Four Witches, (which I reduced to three) the engraving by Albrecht Dürer (1471-1528); Margaret Bourke White’s ‘Fallow Field’; the enlarged proboscis of Jimmy Durante, early medical journal drawings, images of phases of gestation of human embryos, figures by the 19th century satirist Grandville (1803-1847, whose “Les Métamorphoses du jour”, 1828 a series of 70 scenes in which human-animal figures enact the human comedy; and other recognizable historical and cultural imagery.

A Denver businessman supported the project, offering to print the large format vellum panels, (each measuring three feet wide by thirteen feet in length) at minimal cost to me.

The installation exhibited at Pirate Gallery in Denver, Colorado in 1998, and a second time at Artomatic in Washington DC in 2002.
Not a Flower, Big Women Series, 1997. Acrylic on canvas 65”H x 60”W

'Big Women’ exhibited at Pirate Gallery Denver, Colorado.

As the first solo exhibition after arriving in Denver, it reflected a political and social awareness from my studies at Howard University, and with Dr Josephine Withers at University of Maryland.

The second wave of feminism informed this work. I began working in monochromatic tones painting larger images. The starkness of the black and white and the impact of size were both integral to my statement. Those elements were used in three subsequent exhbitions of my work in Denver.

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes.

The over-sized canvases include representations of Anna Magnani (Just Laughing), and Maria Callas screaming (One Cannot Be Both); Barbie, (Doll - No Breath) the over-sized painting of a vulva (Not a Flower), that has autobiographical text stenciled in a thick pink impasto arranged in an inverted triangle over the black and white painting. The text stenciled on ‘Not a Flower’ is below:

Text stenciled in pink impasto on the painting; "Not A Flower", 1997. 55"H X 50"W

As a child my mother dressed me in pink…

“surrender the pink” means relinquishing

your virtue. At four I was pressed

into ballet lessons. At six, I was

a bride in a Tom Thumb wedding,

my brother was the groom. No one

questioned the incestuous nature of the

Ritual. By age thirteen

my boyish tendencies so

appalled my father, he

made mother enroll me

in “charm” school.

It was then

that I grasped

how deportment

would serve to

emphasize my

difference.

Available for Purchase

Not A Flower, an over-sized acrylic painting on unstretched canvas. $4000.
Fat Man, floating 2019.

The Swimmers (series)

This series of small oil paintings on canvas were created between 2018-19.

‘Swimming’ (Australian Crawl), 12”x9”oil on canvas is available in a bleached oak 'float' frame,

$750.

All images from this series are available as fine art Giclee prints on stretched canvas, or printed on fine art paper, shipped directly to you, via UPS.

Fat Man Floating is available as a Giclee on canvas, ready to hang from my studio 20”H x 24”W.

If you are interested, please contact me. Prices for a stretched canvas in any size you prefer, can be shipped to your door ready to hang. Delivery cost included in the price.

Available for Purchase

The original painting is sold. However this artwork looks good as a Giclee print on stretched canvas, or as a Giclee

print on paper which you can frame to suit your decor.

The image may be printed in it’s original dimensions or scaled up as large as 20”H x 28”W.

Please contact the artist for additional information.
What Noise??? Oversize abstract painting on canvas. 80”H x 70”W.

What Noise???

This over-size canvas has a lyricism and

effervescence in color and movement.

It was reworked after being exhibited

as the floorcloth in “Hers: Inside/Outside,” at

Arlington Arts Center in New Genres Invitational,

and as the floorcloth in 'Hers' at the University of MD, Stamp

Student Union Parents Association Gallery,

Subsequently, is was reworked to hang in

Decade, the Invitational Exhibition at

Edge Gallery in Denver, CO.

What Noise is available as fine art Giclee prints

on canvas, or on fine art paper for framing.

If you wish to view a framed Giclee print or

a Giclee on canvas of the original please

schedule an appointment to see them in my studio.

Available for Purchase

What Noise???, 80”Hx70”W, unstretched canvas; $5500.

About Patricia

Howard County

Patricia Buck was born and raised in
Baltimore, MD. She began painting
at an early age, and received awards
in high school for painting and poetry.

Patricia attended University of Maryland
to study painting with Hank Nitsche.
She received the college of art
J P Wharton Award for Excellence in Art
during her sophomore year and
graduated with a minor in art history
and a Bachelor's in Studio Art.

Patricia worked in… more

View Patricia's Resume

The Swimmers, oil on canvas. 2018-2019.

Swimming, (Australian crawl)

An original oil on canvas measuring 12”H x 9”W,

mounted in a bleached oak float frame,

available. $750.

Giclee prints of this series are available.

Please contact the artist to receive a cost for

the size and type of Giclee (stretched canvas

Giclee or fine art Giclee print on paper) you desire.

Available for Purchase

Original oil on canvas 12”H x 9”W, mounted in a

bleached oak float frame, $750.
Water study, on paper. 50”H x 38”W.

This large 50”H x 38”W. loose water study painting

is a favorite of mine. It is not for sale.

Available for Purchase

Water painting measures 50”H x 38” W; unframed. Acrylic on Lenox 100 Paper, $950. Includes shipping.
Red-hair woman floating, 2018

The original 8”H x 10”W oil on canvas is sold, however

this image looks beautiful as a framed Giclee print

on paper or a stretched canvas Giclee print. Either

can be shipped directly to your door via UPS.

Please contact me for a price on the size you want.

Available for Purchase
Floating

Available for Purchase
Fat man floating

Available for Purchase
Ladies at the Hot Springs, Canada

Ladies at the Hot Springs is a 9”H x 12”W oil painting on canvas.

You may view the work in my studio. It is available, $650.

Available for Purchase

Ladies at the Hot Springs is a 9”H x 12”W oil painting on stretched canvas.

The stretchers are 5/8” and well-suited to a “float” frame, $650 plus tax,

and shipping if required.
Man reading

Available for Purchase

Work in Photography

My interest in photography expanded during the master's program at Howard University.

I managed the photography lab for students at Howard and studied photography at American University through the university consortium.

In the 1980’s William Christenberry opened his studio for a tour and I was intrigued by his photographs of the disappearing South and, also maquettes which he created of buildings which he documented in photographs.

Other artists work that I enjoy include:

Sam Taylor-Johnson, Sally Mann (who wrote a book about her life and work), Diane Arbus, Imogen Cunningham, Dorothea Lange, Cindy Sherman, Margaret Bourke White, Nan Golden, Sophie Calle and Berenice Abbot.

Boots, Kinetic Sculpture Race, 2017
All boy, Vashon Island_0.jpg

Available for Purchase
Ferry to Vashon

Available for Purchase
Elevator security.

Available for Purchase

Available printed on a 30”H x 20”W glossy aluminum panel, shipped, ready to hang. $500.
Boarman’s, the Highlands

Available for Purchase
Chris on Thanksgiving Day.
Man on the subway.

Available for Purchase
Blue woman

Available as a glossy print on an aluminum panel, 36”Hx 30”W, delivered ready to hang. $600.

Available for Purchase

This image is available printed on a 30”H x 20”W aluminum panel for $450 delivered.
Hedges with edges, Victoria, Canada

Installation Art: Genetics/Memetics, Denver, CO 1998; Art-O-Matic, Washington DC, 2002

This large room installation, was created for a site specific exhibition at Pirate

Gallery in Denver, CO, subsequently, in 2002, I was able to exhibit it a second time

at Artomatic in Washington, DC. The Washington Post included a photo

of Genetics/Memetics on the front of the Style section for their review of

Artomatic, 2002.

The original idea came to me in 1998 before anyone used the term ‘meme.'

As a member of Pirate gallery, I was offered a space 36’ L x 15’ W to show in for

my second member exhibit.

I began merging the concept of genetics and memetics using black and white photographs

of historic and scientific references in collaged panels, creating a room-size maquette of

the space.

A limited edition prints depicting the North or South Wall of

the installation Genetics/Memetics are available printed

on vellum, measuring 24”H x 36” L. Both prints framed can

be seen below, or in my studio, by appointment.

Additionally, also of interest, discreet sections of these panels

can be cropped into stand-alone prints - (i.e) Albrecht Durer’s

(Four) Three Graces on to which I've placed cartoon heads

of animals created by 18th century political cartoonist

Jean-Ignace-Isidore Gerard, otherwise known as Grandville.

Genetics/Memetics

Genetics/Memetics is an installation I developed for my second solo exhibition in Denver at Pirate Gallery.

The year is 1998, and the term ‘meme’ was not a commonly used word.
Genetics Memetics
Print of Genetics/Memetics

Available for Purchase
Genetics/Memetics
Genetics/Memetics
Genetics/Memetics
Genetics/Memetics
Genetics/Memetics
Genetics/Memetics
Genetics/Memetics

Big Women, 1997. Denver, Colorado

This work was createf the year after graduating with my MFA. I moved to Denver Colorado, and joined Pirate, a cooperative artist gallery in Denver, CO.

The series Big Women consisted of five over-sized acrylic paintings on canvas (55"H x 50"W) of women's body parts and faces, and seven unstretched canvases (12"x12") of men's eyes.

Man #

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes. This is Man #189.

Available for Purchase

12”x 12” unstretched canvas. Acrylic painting of a man’s eye, $500
Man #1872

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes. This is Man #1872.

Available for Purchase

Monochromatic unstretched canvas of a man’s eye hidden partly by shadows. Measures 12”x12”. $500.
Man #11

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes. This is Man #11.

Available for Purchase

Unstretched 12”x 12 “canvas painted in monochromatic tones, Man #11. $500
Man #50655

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes. This is Man #50655.

Available for Purchase
Boy #402822

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes.

Available for Purchase

Boy #402822. Unstretched painting on canvas, $500.
Doll. No breath. No brains. No juice. No life.

The 'Big Women’ Series exhibited at Pirate Gallery Denver, Colorado, Big Women was my first exhibition after arriving in Denver. The work reflected a political and social awareness honed during my time at Howard University, and in seminars with Dr Josephine Withers at University of Maryland.

The second wave of feminism informed this work. I began working in monochromatic tones painting larger images. The starkness of the black and white and the impact of size were both integral to my statement. Those elements were used in three subsequent exhbitions of my work in Denver.

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes.

The over-sized canvases include representations of Anna Magnani (Just Laughing), and Maria Callas screaming (One Cannot Be Both); Barbie, (Doll - No Breath) the over-sized painting of a vulva (Not a Flower), that has autobiographical text stenciled in a thick pink impasto arranged in an inverted triangle over the black and white painting. One other painting is an over-sized breast with images of human sensory organs arranged on the side of the canvas.

Available for Purchase

Over-sized painting acrylic on canvas, 65”H x 30”W, $3000.
Being Versus Seeming, acrylic on canvas 65”H x 60”W

The 'Big Women’ Series exhibited at Pirate Gallery Denver, Colorado, Big Women was my first exhibition after arriving in Denver. The work reflected a political and social awareness honed during my time at Howard University, and in seminars with Dr Josephine Withers at University of Maryland.

The second wave of feminism informed this work. I began working in monochromatic tones painting larger images. The starkness of the black and white and the impact of size were both integral to my statement. Those elements were used in three subsequent exhbitions of my work in Denver.

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes.

The over-sized canvases include representations of Anna Magnani (Just Laughing), and Maria Callas screaming (One Cannot Be Both); Barbie, (Doll - No Breath) the over-sized painting of a vulva (Not a Flower), that has autobiographical text stenciled in a thick pink impasto arranged in an inverted triangle over the black and white painting. One other painting is an over-sized breast with images of human sensory organs arranged on the side of the canvas.

Available for Purchase

Over-sized 65”H x 60”W unstretched canvas, $3000
Not A Flower, acrylic on canvas, 55”H x 50”W

The 'Big Women’ Series exhibited at Pirate Gallery Denver, Colorado, Big Women was my first exhibition after arriving in Denver. The work reflected a political and social awareness honed during my time at Howard University, and in seminars with Dr Josephine Withers at University of Maryland.

The second wave of feminism informed this work. I began working in monochromatic tones painting larger images. The starkness of the black and white and the impact of size were both integral to my statement. Those elements were used in three subsequent exhbitions of my work in Denver.

Big Women consists of five over-size canvases, each measuring 55”H x50”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes.

The over-sized painting of a vulva (Not a Flower), has autobiographical text stenciled in a thick pink impasto arranged in an inverted triangle over the black and white painting.

Text stenciled on the painting; "Not A Flower"

As a child my mother dressed me in pink…

“surrender the pink” means relinquishing

your virtue. At four I was pressed

into ballet lessons. At six, I was

a bride in a Tom Thumb wedding,

my brother was the groom. No one

questioned the incestuous nature of the

Ritual. By age thirteen

my boyish tendencies so

appalled my father, he

made mother enroll me

in “charm” school.

It was then

that I grasped

how deportment

would serve to

emphasize my

difference.

Available for Purchase

Over-sized 65”H x 60”W acrylic painting on unstretched canvas, $3000
Not a Flower, Big Women Series, 1997. Acrylic on canvas 65”H x 60”W

'Big Women’ exhibited at Pirate Gallery Denver, Colorado.

As the first solo exhibition after arriving in Denver, it reflected a political and social awareness from my studies at Howard University, and with Dr Josephine Withers at University of Maryland.

The second wave of feminism informed this work. I began working in monochromatic tones painting larger images. The starkness of the black and white and the impact of size were both integral to my statement. Those elements were used in three subsequent exhbitions of my work in Denver.

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes.

The over-sized canvases include representations of Anna Magnani (Just Laughing), and Maria Callas screaming (One Cannot Be Both); Barbie, (Doll - No Breath) the over-sized painting of a vulva (Not a Flower), that has autobiographical text stenciled in a thick pink impasto arranged in an inverted triangle over the black and white painting. The text stenciled on ‘Not a Flower’ is below:

Text stenciled in pink impasto on the painting; "Not A Flower", 1997. 55"H X 50"W

As a child my mother dressed me in pink…

“surrender the pink” means relinquishing

your virtue. At four I was pressed

into ballet lessons. At six, I was

a bride in a Tom Thumb wedding,

my brother was the groom. No one

questioned the incestuous nature of the

Ritual. By age thirteen

my boyish tendencies so

appalled my father, he

made mother enroll me

in “charm” school.

It was then

that I grasped

how deportment

would serve to

emphasize my

difference.

Available for Purchase

Not A Flower, an over-sized acrylic painting on unstretched canvas. $4000.
One Cannot be Both (feminine and adult)

The 'Big Women’ Series exhibited at Pirate Gallery Denver, Colorado, Big Women was my first exhibition after arriving in Denver. The work reflected a political and social awareness honed during my time at Howard University, and in seminars with Dr Josephine Withers at University of Maryland.

The second wave of feminism informed this work. I began working in monochromatic tones painting larger images. The starkness of the black and white and the impact of size were both integral to my statement. Those elements were used in three subsequent exhbitions of my work in Denver.

Big Women consists of five over-size canvases, each measuring 65”H x60”W, with each including iridescent text painted on the work. In with these paintings of women’s heads and body parts were seven paintings on unstretched canvas of men's eyes.

The over-sized canvases include representations of Anna Magnani (Just Laughing), and Maria Callas screaming (One Cannot Be Both); Barbie, (Doll - No Breath) the over-sized painting of a vulva (Not a Flower), that has autobiographical text stenciled in a thick pink impasto arranged in an inverted triangle over the black and white painting. One other painting is an over-sized breast with images of human sensory organs arranged on the side of the canvas.

Available for Purchase

Oil on unstretched canvas, 65”H x 60”W; $3000

American Girl War, 1998. An installation exhibited in Denver Colorado.

This installation grew out of an art residency in photography at Anderson Ranch, Snowmass CO.

The Colorado Council for the Arts awarded me a scholarship at Anderson Ranch in Snowmass, CO, to work with Jim Goldberg

(‘Raised by Wolves’) and Philip Brookman (curator of New Media at the Corcoran Gallery of Art) for a workshop

in 'Photographic Story-telling'.

The result was an autobiographical photographic book which I developed into this installation which exhibited

at EDGE gallery in Denver CO in 1998.

American Girl War

This installation grew out of an art residency in photography at Anderson Ranch, Snowmass CO.

The Colorado Council for the Arts awarded me a scholarship at Anderson Ranch in Snowmass, CO, to work with Jim Goldberg

(‘Raised by Wolves’) and Philip Brookman (curator of New Media at the Corcoran Gallery of Art) for a workshop

in 'Photographic Story-telling'.

The result was an autobiographical photographic book which I developed into this installation which exhibited

at EDGE gallery in Denver CO in 1998.
American Girl War

This installation grew out of an art residency in photography at Anderson Ranch, Snowmass CO.

The Colorado Council for the Arts awarded me a scholarship at Anderson Ranch in Snowmass, CO, to work with Jim Goldberg

(‘Raised by Wolves’) and Philip Brookman (curator of New Media at the Corcoran Gallery of Art) for a workshop

in 'Photographic Story-telling'.

The result was an autobiographical photographic book which I developed into this installation which exhibited

at EDGE gallery in Denver CO in 1998.
American Girl War

This installation grew out of an art residency in photography at Anderson Ranch, Snowmass CO.

The Colorado Council for the Arts awarded me a scholarship at Anderson Ranch in Snowmass, CO, to work with Jim Goldberg

(‘Raised by Wolves’) and Philip Brookman (curator of New Media at the Corcoran Gallery of Art) for a workshop

in 'Photographic Story-telling'.

The result was an autobiographical photographic book which I developed into this installation which exhibited

at EDGE gallery in Denver CO in 1998.
American Girl War

This installation grew out of an art residency in photography at Anderson Ranch, Snowmass CO.

The Colorado Council for the Arts awarded me a scholarship at Anderson Ranch in Snowmass, CO, to work with Jim Goldberg

(‘Raised by Wolves’) and Philip Brookman (curator of New Media at the Corcoran Gallery of Art) for a workshop

in 'Photographic Story-telling'.

The result was an autobiographical photographic book which I developed into this installation which exhibited

at EDGE gallery in Denver CO in 1998.
American Girl War
American Girl War

Paintings of the I Ching. Nineteen paintings exhibited at Arnold & Porter, 1991.

Paintings of the I Ching: Po - Splitting Apart

Paintings of the I Ching: Po - Splitting Apart, 1991. Sold

Giclee prints on stretched canvas and on fine art paper are available.

Please contact the artist for pricing.

Available for Purchase

This painting is available as a Giclee print on stretched canvas or on fine art paper.

Price will be dependent on size and your choice of support.

Please contact the artist with the size in which you are interested.
Paintings of the I Ching: Forest Effervescence
Paintings of the I Ching: Magenta Light

Paintings of the I Ching: Magenta Light with Copper, 1991.

This original painting is in the artist’s collection, and is available for purchase. $1750.

Acrylic and collaged on paper, image size 40”H x 26”W mounted on 100% archival paper in a simple black aluminum frame.

Giclee prints of this artwork are available on stretched canvas or fine art paper as a very affordable option.

Contact the artist for pricing.

Available for Purchase

Paintings of the I Ching: Magenta Light is an acrylic painting on Lenox 100 paper, mounted on 100% archival paper and sits in a simple black aluminum frame, $1500
Paintings of the I Ching: Infinitessimal Germs of Events

Paintings of the I Ching: The Infinitessimal Germs of Events.

Acrylic painting measuring 40”H x 28”W on Lenox 100 paper, mounted on 100% archival paper and framed in a simple aluminum frame.

SOLD
Paintings of the I Ching: House of Orange Fire

Paintings of the I Ching: House of Orange Fire, 1991.

This original painting is in the artist’s collection, and is available for purchase. $1750.

Acrylic paint on paper, image size 40”H x 26”W mounted on 100% archival paper and mounted in a simple black aluminum frame.

Giclee prints of this artwork are available on stretched canvas or fine art paper as a very affordable option.

Contact the artist for pricing.

Available for Purchase

Paintings of the I Ching: Magenta Light is an acrylic painting on Lenox 100 paper, mounted on 100% archival paper and sits in a simple black aluminum frame, $1700
Paintings of the I Ching: Turquoise Light
Paintings of the I Ching: House of Light
Paintings of the I Ching: Pastel Light

Available for Purchase

Available as a 40”H x 28” W Giclee print on paper. $200.
Paintings of the I Ching: Totem Hexagram
Solar Wind - The I Ching Series begins

Holding the Sacred - exhibited at Alla Rogers Gallery, Washington, DC, 1991

Cover- International Women's Month Report for the World Bank meeting, China. copy 2.jpg
Floating Bronze Vessel
Alchemy - Lead to Ruby

Available for Purchase

This artwork is in the collection of the artist. It is a 50”H x 38” W acrylic painting on Lenox 100 paper, unframed. $2000.
Broken Vessel
Small I Ching with Gold and Lead

Collection of Shea & Gardner Art, Washington, DC
Tempest Teacup, 1991

Sold to a collector in Seattle, WA.
Small world.

Glyphs and Diptychs, 1988-1989

Amazon Glyph, 1987. Acrylic on Lenox 100 paper. 40”H x 26”W.
Egyptian Glyph, 1988. Acrylic on Lenox 100 paper. 40”H x 26”W.
Fire Glyph, 1989. Acrylic on Lenox 100 paper. 40”H x 26”W.
Planetary Glyph, 1988. Oil and acrylic on canvas. 65”H x 60”W
Chinese Red Fire Glyph, 1989

Expressionist Figures, 1987

This series was created during a year that I enrolled in the Corcoran School

of Art’s 'Open Program’ in order to work with Washington color school

artist Leon Berkowitz. I had recently experienced a great emotional

loss, and the work I created during this time communicated that grief.

Wraith, 1987. Acrylic on Lenox 100 paper 40”H x 26”W.
Both Sides of His Mouth, 1987. Acylic on Lenox 100 paper. 40”H x 26”W.
Worse Than His Bite
Man with a Dagger, 1987. Acrylic on Lenox paper 40”H x 26”W.
Initiation, 1987. Acrylic on Lenox paper 40”H x 26”W.
Man in Blue, 1987. Acrylic on Lenox paper 40”H x 26”W.
Soldier of Fortune, 1987. Acrylic on Lenox paper 40”H x 26”W.

The Torn Paper Series, 1981-1985

Detail: One Moment in a Day, 1952. Mixed media on paper with collaged torn paper. 60”H x 50”W"

Detail: One Moment in a Day, 1952. Mixed media on paper with collaged torn paper. 60”H x 50”W"
Turbulence, 1983
One Moment in a Day, 1981
Flaming Form

Sold.
Clearing in the forest, 1983
Demons without Faces II, 1981

Demons Without Faces (30.5”H x 38.25”W diptych) in a New York collection.
Demons Without Faces, 1981

Demons Without Faces (30.5”H x 38.25”W diptych) was purchased by Joseph Hirshhorn at an auction to benefit the Washington Project for the Arts.

The work was bequeathed to the Hirshhorn Museum upon Joe Hirshhorn’s death. The Object Record at the Hirshhorn is .86.661.