Analia Saban

Analia Saban. Photo: Caren Levin

 

Born in Buenos Aires and based in Los Angeles since the early 2000s, Analia Saban (*1980) works across and between artistic mediums, consistently turning viewers’ expectations of what constitutes a painting or sculpture on its head. In the process, Saban’s works constitute inventive new hybrid forms that complicate these traditional categories and rewrite their definitions, while delving simultaneously into the histories of art, materials and technology.

 

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The roots of Saban’s practice can be traced to one of her earliest series, in which she dismantled dozens of painted canvases, unweaving their surfaces thread by thread, then reshaping them into objects such as a knitted scarf and a massive, tightly-wound sphere entitled The Painting Ball (2005)—new forms that call into question the value of works of art once they are reduced to their basic components. Traditionally paintings are created using brushstrokes that are applied one after the other to gradually construct an image. In Saban’s hands, however, brushstrokes might be created individually—as miniature, three-dimensional sculptures—and then affixed to canvas with glue or tape; or they may be painted onto canvas, but then burnt away with an industrial laser-cutter in calculated patterns, generating imagery via a subtractive, rather than an additive, process.

As complex as her approach may be, the imagery she employs often relates to everyday domestic objects and architectures. Using a casting technique she developed in 2011, Saban created three-dimensional sculptures of towels, trash bags and bed sheets out of flexible acrylic paint, which she then draped over canvases in a performative, literal rendition of “acrylic on canvas.” In other series, the artist affixes slabs of stone, glass and concrete to linen supports, recalling the shape of sinks and the foundations of houses. The simplicity of these references belies the intricate constellation of issues that Saban offers her viewers. One must consider, for example, why a cast dishtowel—stripped of its use-value when made of paint—attains a different, ineffable value as a work of art once placed in an artistic context.

Saban’s sculptural work has likewise involved pushing materials far beyond their intended purposes. She has reupholstered old chairs and sofas with yards of linen canvas, whose loose ends extend onto stretcher bars mounted to the wall mimicking blank canvases. Her Draped Marble and Draped Concrete series (2014–16) treat hard slabs of stone like flowing fabric, cracking and bending them to drape gracefully over sawhorse-like structures and, in turn, invoking the long histories of both stone sculpture and painted drapery.

In 2016 the artist acquired a loom, interested originally in its distinct form rather than its function. Yet Saban soon set to work reimagining once more how paintings are made: rather than applying paint to canvas, she creates swollen “threads” of dried acrylic paint that are methodically woven together with linen to produce works in which paint and canvas are literally entwined. Certain of her woven canvases are purely abstract compositions, engaging with the history of minimalist painting; while others suggest doorways and windows, or even digital gradient imaging functions native to Photoshop. Saban’s discovery that the history of weaving and computer technology are inextricably linked has led to increasingly complex tapestries and ink-and-paper works based on the designs of historical circuit boards; and actual circuit boards themselves have become recent material for Saban’s ever-evolving practice, which continues to tackle fundamental questions about art and its meaning within contemporary society.

 

FOCUS: Analia Saban
Modern Art Museum of Fort Worth, March 30–May 12, 2019

Works
Analia Saban
Analia Saban
Draped Concrete (26.25 sq ft), 2016

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Four concrete slabs on wooden sawhorse
104.8 × 487.7 × 42.9 cm
41 1/4 × 192 × 16 7/8 inches

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Analia Saban
Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019

Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019
Woven copper wire and linen thread
222.9 × 180.3 × .2 cm
87 3/4 × 71 × 1/16 inches

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Analia Saban
Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019
Woven acrylic paint and linen thread
93.3 × 85.1 × 5.7 cm
36 3/4 × 33 1/2 × 2 1/4 inches

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Analia Saban
Analia Saban
Folded Concrete (Gate Fold), 2017

Analia Saban
Folded Concrete (Gate Fold), 2017
Concrete on walnut pallet
33 × 127 × 94 cm
13 × 50 × 37 inches

More views
Analia Saban
Analia Saban
Graphite Cluster #5, 2017

Analia Saban
Graphite Cluster #5, 2017
Rough and ground graphite on encaustic paint on panel
147.3 × 121.9 × 5.7 cm
58 × 48 × 2 1/4 inches

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Analia Saban
Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018

Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Woven acrylic paint and linen thread
259.1 × 169.5 × 1 cm
102 × 66 3/4 × 3/8 inches

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Analia Saban
Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017
Acrylic paint woven through linen canvas on panel
202.6 × 106 × 6.4 cm
79 3/4 × 41 3/4 × 2 1/2 inches

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Analia Saban
Analia Saban
Pleated Ink, Window with Blinds #2, 2017

Analia Saban
Pleated Ink, Window with Blinds #2, 2017
Laser-sculpted paper on ink on wood panel
152.4 × 101.6 × 5.2 cm
60 × 40 × 2 1/16 inches

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Analia Saban
Analia Saban
Slab Foundation with Glass Opening #5, 2016

Analia Saban
Slab Foundation with Glass Opening #5, 2016
Glass and concrete on canvas
75.6 × 61 × 6 cm
29 3/4 × 24 × 2 3/8 inches

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Analia Saban
Analia Saban
Brushstrokes (Dandelion Field), 2014

Analia Saban
Brushstrokes (Dandelion Field), 2014
Gelatin silver print on resin coated paper and canvas
121.9 × 304.5 × 4.1 cm
48 × 119 7/8 × 1 5/8 inches

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Analia Saban
Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Ink and laser carved paper on wood panel
127 × 158.8 × 5.4 cm
50 × 62 1/2 × 2 1/8 inches

More views
Analia Saban
Analia Saban
Aggregate, 2012

Analia Saban
Aggregate, 2012
Concrete on canvas
52.1 × 40.6 × 8.9 cm
20 1/2 × 16 × 3 1/2 inches

Details
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Four concrete slabs on wooden sawhorse
104.8 × 487.7 × 42.9 cm
41 1/4 × 192 × 16 7/8 inches

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016 (detail)

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016 (detail)

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016 (detail)

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016 (detail)

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016 (detail)

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016 (detail)

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban
Analia Saban

Analia Saban
Draped Concrete (26.25 sq ft), 2016 (detail)

Analia Saban
Draped Concrete (26.25 sq ft), 2016
Analia Saban

Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019
Woven copper wire and linen thread
222.9 × 180.3 × .2 cm
87 3/4 × 71 × 1/16 inches

Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019
Analia Saban
Analia Saban

Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019 (detail)

Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019
Analia Saban
Analia Saban

Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019 (detail)

Analia Saban
Copper Tapestry (Computer Chip, TMS 1000, Texas Instruments, 1974), 2019
Analia Saban

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019
Woven acrylic paint and linen thread
93.3 × 85.1 × 5.7 cm
36 3/4 × 33 1/2 × 2 1/4 inches

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019
Analia Saban
Analia Saban

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019 (detail)

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019
Analia Saban
Analia Saban

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019 (detail)

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019
Analia Saban
Analia Saban

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019 (detail)

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019
Analia Saban
Analia Saban

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019 (detail)

Analia Saban
Woven Reflected Diamond Gradient as Weft (Center, White), 2019
Analia Saban

Analia Saban
Folded Concrete (Gate Fold), 2017
Concrete on walnut pallet
33 × 127 × 94 cm
13 × 50 × 37 inches

Analia Saban
Folded Concrete (Gate Fold), 2017
Analia Saban
Analia Saban

Analia Saban
Folded Concrete (Gate Fold), 2017 (detail)

Analia Saban
Folded Concrete (Gate Fold), 2017
Analia Saban
Analia Saban

Analia Saban
Folded Concrete (Gate Fold), 2017 (detail)

Analia Saban
Folded Concrete (Gate Fold), 2017
Analia Saban
Analia Saban

Analia Saban
Folded Concrete (Gate Fold), 2017 (detail)

Analia Saban
Folded Concrete (Gate Fold), 2017
Analia Saban

Analia Saban
Graphite Cluster #5, 2017
Rough and ground graphite on encaustic paint on panel
147.3 × 121.9 × 5.7 cm
58 × 48 × 2 1/4 inches

Analia Saban
Graphite Cluster #5, 2017
Analia Saban
Analia Saban

Analia Saban
Graphite Cluster #5, 2017 (detail)

Analia Saban
Graphite Cluster #5, 2017
Analia Saban
Analia Saban

Analia Saban
Graphite Cluster #5, 2017 (detail)

Analia Saban
Graphite Cluster #5, 2017
Analia Saban
Analia Saban

Analia Saban
Graphite Cluster #5, 2017 (detail)

Analia Saban
Graphite Cluster #5, 2017
Analia Saban

Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Woven acrylic paint and linen thread
259.1 × 169.5 × 1 cm
102 × 66 3/4 × 3/8 inches

Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban
Analia Saban

Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018 (detail)

Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban
Analia Saban

Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018 (detail)

Analia Saban
Tapestry (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017
Acrylic paint woven through linen canvas on panel
202.6 × 106 × 6.4 cm
79 3/4 × 41 3/4 × 2 1/2 inches

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017
Analia Saban
Analia Saban

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017 (detail)

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017
Analia Saban
Analia Saban

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017 (detail)

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017
Analia Saban
Analia Saban

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017 (detail)

Analia Saban
Woven Solid as Warp, Horizontal (Gray) #1, 2017
Analia Saban

Analia Saban
Pleated Ink, Window with Blinds #2, 2017
Laser-sculpted paper on ink on wood panel
152.4 × 101.6 × 5.2 cm
60 × 40 × 2 1/16 inches

Analia Saban
Pleated Ink, Window with Blinds #2, 2017
Analia Saban
Analia Saban

Analia Saban
Pleated Ink, Window with Blinds #2, 2017 (detail)

Analia Saban
Pleated Ink, Window with Blinds #2, 2017
Analia Saban
Analia Saban

Analia Saban
Pleated Ink, Window with Blinds #2, 2017 (detail)

Analia Saban
Pleated Ink, Window with Blinds #2, 2017
Analia Saban

Analia Saban
Slab Foundation with Glass Opening #5, 2016
Glass and concrete on canvas
75.6 × 61 × 6 cm
29 3/4 × 24 × 2 3/8 inches

Analia Saban
Slab Foundation with Glass Opening #5, 2016
Analia Saban
Analia Saban

Analia Saban
Slab Foundation with Glass Opening #5, 2016

Analia Saban
Slab Foundation with Glass Opening #5, 2016
Analia Saban

Analia Saban
Brushstrokes (Dandelion Field), 2014
Gelatin silver print on resin coated paper and canvas
121.9 × 304.5 × 4.1 cm
48 × 119 7/8 × 1 5/8 inches

Analia Saban
Brushstrokes (Dandelion Field), 2014
Analia Saban
Analia Saban

Analia Saban
Brushstrokes (Dandelion Field), 2014 (detail)

Analia Saban
Brushstrokes (Dandelion Field), 2014
Analia Saban
Analia Saban

Analia Saban
Brushstrokes (Dandelion Field), 2014 (detail)

Analia Saban
Brushstrokes (Dandelion Field), 2014
Analia Saban
Analia Saban

Analia Saban
Brushstrokes (Dandelion Field), 2014 (detail)

Analia Saban
Brushstrokes (Dandelion Field), 2014
Analia Saban
Analia Saban

Analia Saban
Brushstrokes (Dandelion Field), 2014 (detail)

Analia Saban
Brushstrokes (Dandelion Field), 2014
Analia Saban

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Ink and laser carved paper on wood panel
127 × 158.8 × 5.4 cm
50 × 62 1/2 × 2 1/8 inches

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban
Analia Saban

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018 (detail)

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban
Analia Saban

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018 (detail)

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban
Analia Saban

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018 (detail)

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban
Analia Saban

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018 (detail)

Analia Saban
Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018
Analia Saban

Analia Saban
Aggregate, 2012
Concrete on canvas
52.1 × 40.6 × 8.9 cm
20 1/2 × 16 × 3 1/2 inches

Analia Saban
Aggregate, 2012
Details
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Current and Upcoming
Analia Saban

Ground/work
Clark Art Institute, Williamstown, MA
Summer 2020–Summer 2021

In light of recent developments regarding the coronavirus (COVID-19), exhibitions, events and talks are subject to change.

The Clark Art Institute’s first-ever outdoor exhibition, Ground/work, consists of site-responsive installations by six contemporary artists presented in locations across the pastoral setting of its 140-acre campus. International artists Kelly Akashi, Nairy Baghramian, Jennie C. Jones, Eva LeWitt, Analia Saban, and Haegue Yang were invited to conceive of a response to the Clark’s landscape and to be in active dialogue with the natural environment and setting.

Link
Exhibitions at Sprüth Magers
Analia Saban

Analia Saban
Pigmente
July 7–August 26, 2017
Berlin

A recent core interest for Analia Saban has been an investigation into the history of paint formulas and how they have shaped art history. She uncovers at an almost microscopic level the entwined histories of artists and their mediums. In these new works the use of pigment makes reference to historical styles and methods of painting, as well as borrowing from modern technologies. Pigmente, her fifth solo exhibition at the gallery, will run concurrently with Folds and Faults, a solo show at the Los Angeles gallery.

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Analia Saban
Folds and Faults
June 28–August 19, 2017
Los Angeles

This exhibition of new work by Analia Saban extends the artist’s experimental, witty, and profound exploration into the ways in which artworks both enter into being and enter into dialogue with the world they inhabit. Across four recent series, the artist weaves together—literally, at times—medium and content, folding art and architectural references in with everyday concerns that range from lighthearted investigations to meditations on mortality.

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Analia Saban
Analia Saban

Analia Saban
Interiors
February 27–March 28, 2015
London

Analia Saban has gained renown for work that playfully carves open the conventions of photography, painting and sculpture. Interiors, her third exhibition with Sprüth Magers and her first in the London gallery, evokes an array of ideas about how genre and media affect our perception of different artworks, and vice versa. Using the constituent parts of her media as her very subject matter, Saban constructs a dialogue between the conventions that delineate various genres and the manifestation of these characteristics in the anatomy, or "interior," of individual artworks.

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Analia Saban
Bathroom Sink, Etc.
January 25–February 23, 2013
Berlin

Analia Saban subjects her works to deconstructive processes, pulling apart their layers and reassembling them in unconventional ways, revealing how art exists as both a physical and social construction. Continuing this exploration, the works on view in her third exhibition with Sprüth Magers, and her first at the Berlin gallery, reflect her latest lines of inquiry, including linkages between art and domestic space, as well as the potential for painting to evoke at once mundane and transcendent qualities.

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Analia Saban
Press

Analia Saban—Conceptual Artist
The Genius List, interview by Isabelle Le Normand, February 2020

Tapestry as Semiconductor: A Chat with Analia Saban
Glasstire, interview by Christopher Blay, April 8, 2019

Analia Saban: Let’s let the subconscious speak for itself, shall we?
Flaunt, feature by Alison Green, November 30, 2017

Follow the threads to a new vision
Los Angeles Times, review by Leah Ollman, July 19, 2017

An Artist at Home on the Fault Lines
The New York Times, studio visit by Jori Finkel, June 30, 2017

Biography

Analia Saban (*1980, Buenos Aires) lives and works in Los Angeles. Her work has been included in solo exhibitions internationally at Modern Art Museum Fort Worth (2019), Qiao Space, Shanghai (2017–18), Blaffer Art Museum, Houston (2016), and Armory Center for the Arts, Pasadena (2014). Recent group exhibitions include those at Clark Art Institute, Williamstown, MA (2020), Marciano Art Foundation, Los Angeles (2019), Hammer Museum, Los Angeles (2018), Los Angeles County Museum of Art and Aïshti Foundation, Beirut (both 2016–17), Rubell Family Collection and Contemporary Art Foundation, Miami (2015–16), The National Museum, Oslo (2014–15), Kiosk, Ghent (2015), Palais de Tokyo, Paris (2013), Centre d’art Contemporain de Fribourg, Switzerland (2012–13), and MARCO Museum of Contemporary Art, Vigo, Spain (2012). Her work has also been featured at Art Safiental 2018: Horizontal-Vertical (2018); NGV Triennial at National Gallery of Victoria, Melbourne (2017–18), and the first Made in LA biennial at the Hammer Museum, Los Angeles (2012).

Education
2002–05 M.F.A. in New Genres, University of California, Los Angeles
1999–2001 B.F.A. in Visual Arts, Loyola University New Orleans
Residency
2015–16 Artist in Residency, Getty Research Institute, Los Angeles
Awards, Grants and Fellowships
2015–16 Getty Research Institute Artist in Residency, Getty Museum, Los Angeles
2015 Contemporary Collectors Fellowship, Orange County, CA
2012 Rudin Prize for Emerging Photographers, Miami
2010 Santa Monica Artist Fellowship, Santa Monica Cultural Affairs Division, Santa Monica
2009 Durfee Foundation Grant, Durfee Foundation, Santa Monica
2004–05 Fundación Antorchas Fellowship, Fundación Antorchas Argentina, Buenos Aires
2003–04 D’Arcy Hayman Award for the Arts, Arts and Architecture Department, University of California, Los Angeles
2003–04 Fundación Antorchas Fellowship Fundación Antorchas Argentina, Buenos Aires
2002 Art Council Award, Arts and Architecture Department, University of California, Los Angeles
Public Collections
Centre Georges Pompidou, Paris
Fondation Louis Vuitton, Paris
Frances Young Tang Teaching Museum, Skidmore College, Saratoga Springs, NY
Fundación PROA, Buenos Aires
Hammer Museum, Los Angeles
Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY
Los Angeles County Museum of Art
Musée national d'art moderne de la Ville de Paris
Museum of Contemporary Art, Los Angeles
National Gallery of Victoria, Melbourne
Norton Museum of Art, West Palm Beach, FL
Phoenix Art Museum
San Antonio Museum of Art
Speed Art Museum, Louisville, KY
Williams College Museum of Art, Williamstown, MA