The Dorothy and Herbert Vogel collection : fifty works for fifty states

The

Dorothy and

Herbert Vogel

Collection

Fifty Works for
Fifty States

The

Dorothy and

Herbert Vogel

Collection

Fifty Works for
Fifty States

A joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection

and the National Gallery of Art, with the generous support of the National Endowment for the Arts .md the

Institute of Museum and Library Services.

This publication is produced by the

National Endowment for the Arts,

Washington, DC

Editor and Production Manager: Don Ball

Catalogue entries by Mary Lee Corlett

Designed by Fletcher Design, Inc. /Washington, DC

Photo Credits:

Every effort has been made to locate copyright holders for the photographs
reproduced in this book. Any omissions will be corrected in subsequent editions.

Except as noted below, all artwork photography courtesy National Gallery of Art,
Lyle Peterzell, photographer.

Page 2: Milton Hitter

Page 4: Lee Ewing. © 2008 Board of Trustees, National Gallery of Art, Washington

Pages 5 and 16: John Dominis

Pages 6 and 15: Photographer unknown

Page 8: Dorothy Alexander

Page 10: Steve Konick

Page 12: Nathaniel Tileson

Page 18: John Tsantes. © National Gallery of Art, Washington, Gallery Archives

Page: 44: Lorene Emerson. © 2008 Board of Trustees, National Gallery of Art,

Washington

In addition, the following credits apply:

Page 36: © Richard Anuszkiewicz/Licensed by VAGA, New York, NY

Page 47: © Robert Watts Estate, 2008

Page 85: © 2008 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Page 87: © 2008 Keith Sonnier / Artists Rights Society (ARS), New York

Pages 92 and 1 12: © Lynda Benglis/Licensed by VAGA, New York, NY

Page 1 1 1
Page 121
Page 122
Page 141
Page 173
Page 154
Page 214
Page 218

© David Salle/Licensed by VAGA, New York, NY

© 2000 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

Courtesy of the Artist and Metro Pictures

© 2008 Artists Rights Society (ARS), New York / VI$COPY, Australia

© 2008 Richmond Burton / Artists Rights Society (ARS), New York

© Larry Poons/Licensed by VAGA, New York, NY

© Tony Smith Estate, New York

© Vik Muniz/Licensed by VAGA, New York, NY

Cover Image: Red Cascade (1996-97) by Pat Steir, a gift to The Speed Arts
Museum in Louisville, Kentucky.

Library of Congress Cataloging-in-Publication Data

The Dorothy and Herbert Vogel collection : fifty works for fifty states /
[editor, Don Ball],
p. cm.

Includes bibliographical references and index.

1. Art, American- -20th century-Catalogs. 2. Vogel, Dorothy-Art

collections-Catalogs. 3. Vogel, Herbert-Art collections-Catalogs.

4. Art-Private collections- -Washington (D.C.)-Catalogs. I. Ball, Don, 1964-

N6512.D596 2008

709.73'074753-dc22

2008035963

© 2008 National Endowment for the Arts

Preface

The National Endowment for the Arts and the Institute of Museum and Li-
brary Services are proud to support this ambitious project that underscores
the remarkable vision of two people committed to acquiring and sharing
the art of our time. The generosity shown by Herbert and Dorothy Vogel
in their eagerness to distribute their marvelous collection to museums in
each state is an inspiring testament to their strong sense of public service.
In sharing their passion for material that represents a significant period of
art making in the United States, the Vogels are ensuring that people who
otherwise might have limited access to works such as these will be able to
see, study, and enjoy them. The National Endowment for the Arts is dedi-
cated to ensuring greater access to the arts for all citizens of this country,
and the Institute of Museum and Library Services provides resources that
enable our nation's museums and libraries to serve their communities with
quality programs and collections. What better way to promote our respec-
tive missions and honor two patriotic American citizens than through the
catalogue and Web-based learning resource for Fifty Works for Fifty States.

Dana Gioia

Chairman

National Endowment for the Arts

Anne-Imelda Radice

Dircetor

Institute of Museum

and Library Serviees

FIFTY WORKS FOR FIFTY STATES • 111

Digitized by the Internet Archive

in 2012 with funding from

Boston Library Consortium Member Libraries

http://archive.org/details/dorothyherbertvoOOball

TABLE OF CONTENTS

Preface by Dana Gioia, NEA Chairman, and Anne-Imelda Radice, IMLS Director iii

Foreword by Earl A. Powell, Director, National Gallery of Art vii

A Word from Dorothy Vogel ix

Acknowledgments xi

Building a Collection: "Every Spare Moment of the Day" by Ruth Fine 1

Selected Bibliography 24

Fifty Works for Fifty States

Alabama: Birmingham Museum of Art v 28

Alaska: University of Alaska Museum of the North, Fairbanks 32

Arizona: Phoenix Art Museum 36

Arkansas: The Arkansas Arts Center, Litde Rock 40

California: The Museum of Contemporary Art, Los Angeles 44

Colorado: Colorado Springs Fine Arts Center 48

Connecticut: Yale University Art Gallery, New Haven 52

Delaware: Delaware Art Museum, Wilmington 56

Florida: Miami Art Museum 60

Georgia: The High Museum of Art, Atlanta 64

Hawaii: Honolulu Academy of Arts 68

Idaho: Boise Art Museum 72

Illinois: University Museum, Southern Illinois University, Carbondale 76

Indiana: IMA-Indianapolis Museum of Art 80

Iowa: Cedar Rapids Museum of Art 84

Kansas: Spencer Museum of Art, The University of Kansas, Lawrence 88

Kentucky: The Speed Art Museum, Louisville 92

Louisiana: New Orleans Museum of Art ^6

Maine: Portland Museum of Art 100

Maryland: Academy Art Museum, Easton 104

Massachusetts: Harvard University Art Museums, Cambridge 108

Michigan: The University of Michigan Museum of Art, Ann Arbor 1 12

FIFTY WORKS FOR FIFTY STATES • V

Minnesota: Frederick R. Weisman Art Museum, University of Mnnesota, Minneapolis 116

Mississippi: Mississippi Museum of Art, Jackson 120

Missouri: Saint Louis Art Museum 124

Montana: Yellowstone Art Museum, Billings 128

Nebraska: Joslyn Art Museum, Omaha 132

Nevada: Las Vegas Art Museum, Las Vegas 136

New Hampshire: Hood Museum of Art, Dartmouth College, Hanover 140

New Jersey: Montclair Art Museum 144

New Mexico: New Mexico Museum of Art, Museum of New Mexico, Santa Fe 148

New York: Albright- Knox Art Gallery, Buffalo 152

North Carolina: Weatherspoon Art Museum, The University of North Carolina at Greensboro 156

North Dakota: Plains Art Museum, Fargo 160

Ohio: Akron Art Museum, Akron 164

Oklahoma: Oklahoma City Museum of Art 168

Oregon: Portland Art Museum 172

Pennsylvania: Pennsylvania Academy of the Fine Arts, Philadelphia 176

Rhode Island: Museum of Art, Rhode Island School of Design, Providence 180

South Carolina: Columbia Museum of Art 184

South Dakota: South Dakota Art Museum, South Dakota State University, Brookings 188

Tennessee: Memphis Brooks Museum of Art 192

Texas: Blanton Museum of Art, The University of Texas at Austin 196

Utah: Nora Eccles Harrison Museum of Art, Utah State University, Logan 200

Vermont: Robert Hull Fleming Museum, University of Vermont, Burlington 204

Virginia: Virginia Museum of Fine Arts, Richmond 208

Washington: Seattle Art Museum 212

West Virginia: Huntington Museum of Art 216

Wisconsin: Milwaukee Art Museum 220

Wyoming: University of Wyoming Art Museum, Laramie 224

Artist Index 229

VI • THE DOROTHY AND HERBERT VOGEL COLLECTION

Foreword

DOROTHY AND HERBERT VOGEL have been extremely generous donors to the
National Gallery of Art for almost two decades. Since 1991 the Vogels have given
or designated as promised gifts approximately 1,100 drawings, paintings, sculptures,
photographs, prints, and illustrated books. Drawn from the extraordinary collection
of minimal, conceptual, and post-minimal art they have been assembling for more
than forty-five years, these gifts and promised gifts are an essential component of the
National Gallery's holdings of contemporary art. Selections from the Vogel Collec-
tion have been featured in two special exhibitions at the National Gallery: From Mini-
mal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection (1994)
and Christo and Jeanne-Claude in the Vogel Collection (2002). Moreover the Vogels1
gifts play an important role in our permanent collection installations, greatly enrich-
ing the National Gallery's representation of the art of our time.

Dorothy and Herbert Vogel have now expanded their largesse exponentially by
making this daring and varied resource available not only to vast museum audiences in
the nation's capital but as well to museum visitors throughout the country. Their plan
to donate fifty works from their collection to each of fifty art institutions in the United
States — The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States — evolved
during conversations between the Vogels and Ruth Fine, the National Gallery's cura-
tor of special projects in modern art. Through this program, the Vogels are donating
a total of 2,500 works by 177 artists. They hope their gifts will significantly enhance
the representation of contemporary art in all regions of the country, also adding to
the renown of those artists for whose work they have a deep and abiding respect.

Ruth Fine has overseen the realization of the Vogels' massive undertaking, and
Mary Lee Corlett, research associate in the department of special projects in modern
art, has worked tirelessly on all of its organizational aspects with assistance from de-
partment colleague Janet Blyberg. Molly Donovan, associate curator of modern and
contemporary art, and Judith Brodie, curator of modern prints and drawings, both
have long-standing associations with the Vogels and have been immensely helpful as
work has progressed.

We are associated in this undertaking with our colleagues at the National En-

FIFTY WORKS FOR FIFTY STATES • vii

dowment for the Arts (NEA) and the Institute of Museum and Library Services
(IMLS), whose chairman and director, Dana Gioia and Anne-Imelda Radice respec-
tively, have joined with us to carry out the Vogels' dream. Through this catalogue,
supported by the NEA, and the Web site (www.vogel50x50.org), supported by the
IMLS, the collectors are able simultaneously to keep their treasures together as a
shared presence and make them accessible to widely dispersed audiences. The Dorothy
and Herbert Vojjel Collection: Fifty Works for Fifty States initiative is a model of donor
generosity. The National Gallery of Art is delighted to be working with Dorothy and
Herbert Vogel in placing works from their landmark collection in museums through-
out the country.

Earl A. Powell III

Director

National Gallery of Art

Vlll • THE DOROTHY AND HERBERT VOGEL COLLECTION

A Word from Dorothy Vogel

WE BEGAN COLLECTING VERY EARLY IN OUR MARRIAGE, in 1962. While
Herb had an art background, I did not, and I learned from him. In fact, my first
art lesson was at the National Gallery of Art when we came to Washington on our
honeymoon.

In 1987 we returned to the National Gallery on our twenty-fifth wedding
anniversary, and we looked up lack Cowart, the National Gallery's head of twentieth-
century art at the time. It was because of him we gave many works to the National
Gallery in 1991. Since then we have had two exhibitions there: From Minimal to
Conceptual Art: Works from the Dorothy and Herbert Vogel Collection and Christo and
Jeanne-Claude in the Vogel Collection. Other works from our collection frequently
have been installed as part of the museum's permanent collection.

Over these several years when our works were being catalogued at the National
Gallery, it became apparent that the collection is so expansive that no single museum
would be able to research and exhibit all of it to its full potential. In order for more
of the works to be seen and for the many facets of the collection to be most fully re-
vealed, we realized that it would have to be divided among several institutions. With
this Fifty Works for Fifty States project, we can bring together a huge portion of the
collection. Although physically the works will be in fifty locations, there is the added
bonus that they will be visible to many people, especially those who cannot travel.
Hopefully they will enjoy the experience of looking at these works from our collection
and will be inspired.

Before our association with the National Gallery, we had many exhibitions from
our collection in sixteen states, coast to coast, and four foreign countries. Because we
have experienced the pleasure of displaying our art widely, we like the idea of continu-
ing to share our collection throughout the United States this way.

While this book gives an idea of the number of artists in the collection, it does
not reflect the depth of their work, and not all of our artists are represented in the
project. The related Fifty Works for Fifty States Web site will bring together informa-
tion about all of the 2,500 works that have been donated to museums as part of the
project. In addition to other works that we have given to the National Gallery of Art,

FIFTY WORKS FOR FIFTY STATES • i\

we still have art at home, and while we are not interested in adding new artists, we
are still collecting.

We want to thank Earl A Powell III, director, and Alan Shestack, deputy direc-
tor of the National Gallery, for their support of this project from the very beginning;
Dana Gioia, chairman, and Robert Frankel, director, museum and visual arts, of the
National Endowment for the Arts, for making this publication possible; Anne-Imelda
Radice, director, and Marsha L. Semmel, deputy director for museums and director
for strategic partnerships, of the Institute of Museum and Library Services, for their
support of the shipping and transporting of the works being given to the fifty institu-
tions, as well as the related Web site.

Our thanks also go to Ruth Fine, National Gallery curator of special projects
in modern art, who had the idea for this project, for all she has done to execute it.
Mary Lee Corlett, the department's research associate, has attended to every detail,
undertaking a tremendous amount of work which she did very accurately with loving
care. Research assistant Janet Blyberg also has been helpful in many ways, as were two
summer interns, Edward Puchner and Ted Gioia. We also thank Elizabeth A. Croog,
general counsel for the National Gallery of Art; Julian Saenz, on her staff; and Jane
Gregory Rubin, our long-time lawyer and advisor, for overseeing the legal aspects of
these gifts.

Others at the National Gallery with whom we personally have worked on the
project over the years and whom we would like to thank include several members of
the conservation staff, especially Jay Krueger (paintings), but also Shelley Sturman
(objects), Kimberly Schenck (drawings), Connie McCabe (photographs), Julia Burke
(textiles), and Hugh Phibbs (matting and framing); in the registrar's office, Sally Fre-
itag, and Gary Webber, who has made many trips to our New York apartment to help
transfer our works to Washington. Lyle Peterzell did the extraordinary photography
for this catalogue, and we appreciate his enthusiasm for working on the project. The
many other people at the National Gallery who contributed to the success of The
Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States project are noted in
Mr. Powell's foreword to this book and Ms. Fine's acknowledgments.

Most importantly, Herb and I want to dedicate this book to all the artists whose
generosity and encouragement enabled us to assemble this collection. It is with great
pride and pleasure that we give their works from our collection to fifty museums
throughout the United States.

X • THE DOROTHY AND HERBERT VOGEL COLLECTION

Acknowledgments

THE DOROTHY AND HERBERT VOGEL COLLECTION: Fifty Works for Fifty
States project has evolved over several years and has drawn an enormous number of
participants into its fold. Our greatest appreciation is to Dorothy and Herbert Vogel,
for their generosity in sharing their collection with museum-goers throughout the
United States, and for sharing their memories, their knowledge, their friendship, and
their collection with all of us at the National Gallery of Art.

We are likewise indebted to the 177 artists whose works are included in the
gifts documented in this book. We are grateful to them for their creativity and for
their generosity in taking the time to respond to our inquiries about their art. We owe
extended thanks to those who were called upon many times, especially Edda Renouf,
Pat Steir, and Richard Tuttle. We also thank the artists' dealers, estate overseers, and
other representatives for information they have provided to us.

At the National Endowment for the Arts, Chairman Dana Gioia suggested the
creation of this book. His imagination and encouragement added greatly to the over-
all success of the project, as did the support of Robert Frankel, director of museums
and visual arts; Karen Elias, acting general counsel; and Don Ball, editor. At the In-
stitute of Museum and Library Services (IMLS), Anne-Imelda Radice, director, and
Marsha Semmel, deputy director for museums and director for strategic partnerships,
expanded the scope of the project to include a groundbreaking Web site. We appreci-
ate their creative input along the way, as well as the contributions of Nancy Weiss,
IMLS general counsel.

At the National Gallery of Art, we are grateful to Earl A. Powell III, director;
Alan Shestack, deputy director; Elizabeth A. Croog, secretary and general counsel,
and lulian Saenz, associate general counsel; and Dave Rada, comptroller in the trea-
surer's office. I am immensely grateful to two of my departmental colleagues, Mary
Lee Corlett, who facilitated every aspect of this immense project with constant dedi-
cation and grace; and Janet Blyberg, who was called upon frequently to assist with a
wide variety of tasks. Curatorial colleagues Judith Brodie, Carlotta Owens, Charles
Ritchie, and Amy Johnston in the department of modern prints and drawings, and
Molly Donovan, Veronica Betancourt, and Jennifer Roberts in the department of

FIFTY WORKS FOR FIFTY STATES • XI

modern and contemporary art worked with us at every stage of this project.

For sharing their expertise in preservation and conservation, we thank Hugh
Phibbs, Jay Krueger, Kimberly Schenk, Marian Dirda, Connie McCabe, Katy May,
and Simona Cristanetti. Sally Freitag, chief registrar, has provided crucial assistance,
along with her extraordinary staff of registrars and art handlers, particularly Susan
Finkel, whose support in the form of computer searches and downloads was invalu-
able, Lehua Fisher, and Gary Webber. We also thank Anne Halpern, in the depart-
ment of curatorial records, whose assistance has also been immensely helpful.

In the department of imaging and visual services we are grateful to Alan New-
man and his staff, including Robert Grove, Lorene Emerson, Peter Dueker, Katherine
Mayo, and Lyle Peterzell, who returned to the National Gallery for two months to
photograph works in the Vogel Collection for this catalogue and for use in the Web
site developed for the project (www.vogel50x50.org), for which oversight we are
grateful to Joanna Champagne and John Gordy in the publishing and Web office.
Judy Metro, editor in chief, has likewise been extremely helpful in our work, as has
Nancy Deiss in the deputy director's office.

And for their advice and assistance in all matters related to The Dorothy and
Herbert Vogel Collection: Fifty Works for Fifty States, we are grateful to the National
Gallery's chief information officer, Deborah Ziska, as well as staff members Anabeth
Guthrie and Steve IConick.

Former National Gallery of Art colleagues Jack Cowart and Laura Coyle of-
fered memories that have aided our work, for which we are most appreciative.

Ruth Fine

Curator of Special Projects in Modern Art
National Gallery of Art, Washington

XH • THE DOROTHY AND HERBERT VOGEL COLLECTION

Building a Collection:
"Every Spare Moment of the Day"

Ruth Fine

THE RENOWNED ART COLLECTION assembled since 1962 by Dorothy and
Herbert Vogel has been called "one of the most remarkable American collections
formed in [the twentieth] century, one that covers most of the important develop-
ments in contemporary art."2 Two civil servants by profession with no independent
financial means, the Vogels have acquired some four thousand objects, primarily
drawings. In the early years of their collecting journey, the Vogels provided moral and
modest financial support to a number of relatively unknown artists who subsequently
would receive international acclaim. Among them are Robert Barry (plates 101 and
113), Sol LeWitt (plate 186), Edda Renouf (plates 56 and 128), and Richard Tuttle
(plates 4, 28, 38, 72, and 124), with all of whom the Vogels became close friends. By
the 1970s, when the work of these and other artists represented in the Vogel Collec-
tion became widely exhibited and recognized by the international art press, Dorothy
and Herbert likewise were acknowledged for their early, prescient attention to their
work. v

As is the case for many collectors, the Vogels started with no intention of build-
ing "a collection" per se, but rather to acquire works they admired, with which they
wanted to live. The art community's awareness of the limited funds the couple could
devote to these acquisitions brought the Vogels considerable admiration, as did their
enthusiastic response to a range of contemporary practices, which included work many
collectors found difficult to appreciate — new forms employing non-traditional materi-
als such as latex, string, and Styrofoam. Most frequently referred to as collectors of
minimal and conceptual art, the Vogels have always had a more expansive reach. They

FIFTY WORKS FOR FIFTY STATES • 1

figure 1: Dorothy and
Herbert Vogel on
their wedding day,
January 14, 1962.

collected art rooted in abstract expressionism, as exemplified by Michael Goldberg
(plates 83 and 194) and Charles Clough (plates 73 and 133); innovative post-mini-
malist approaches, as seen in the art of Richard Francisco (plates 10 and 182) and Pat
Steir (plates 48 and 67); and diverse figurative directions, such as that embraced by
Will Barnet (plates 57 and 165) and Mark Kostabe (plate 87), among others.

Since 1975 a dozen exhibitions featuring various aspects of the Vogel Collection
have been organized. They are documented in the catalogues that are recorded in this
volume's bibliography. These exhibitions generated interest from several museums,
eventually prodding the couple to give form to their long-standing intention to place
their treasures in a public institution. In 1992 the National Gallery of Art (NGA) in
Washington, DC, announced an agreement with the Vogels that established the gal-
lery's stewardship of their collection. Since that date 1,100 paintings, objects, draw-
ings, photographs, prints, and illustrated books have entered the NGA collection or
have been designated as promised gifts. During this same period, owing to the Vogels
ongoing purchases and the gifts they receive from artists, their collection has doubled
in size from some 2,400 works originally brought to Washington, already too many
to be reasonably placed in any one institution, to approximately 4,000 objects. Thus
the Vogels have worked closely with NGA staff to develop The Dorothy and Herbert
Vogel Collection: Fifty Works for Fifty States, a program to facilitate gifts of fifty works
to one museum in each of the fifty United States.3 The project has received essential
support from the National Endowment for the Arts and the Institute of Museum and
Library Services.

SHAPING THE COLLECTION

In January 1962, twenty-six-year-old Dorothy Faye Hoffman married Herbert Vo-
gel, thirteen years her senior (figure 1). The small synagogue ceremony took place
in Dorothy's home town of Elmira, New York, where her father was a stationary
merchant and her mother, by then deceased, had been a homemaker. The bride had
no particular interest in the visual arts, but rather was focused on classical music and
theater. To this day the living stage remains a high priority for her, and, on most
Wednesday afternoons from September through June, Dorothy is to be found in the
vicinity of 42nd and Broadway attending a matinee. Other ongoing interests include
watching ice skating and reading fiction, especially mysteries. By contrast, Herbert's
deep immersion in painting and drawing already was in place at the time of their mar-

• THE DOROTHY AND HERBERT VOGEL COLLECTION

riage. According to Dorothy, "art is Herby's only interest, except for animals."4 He
immediately set out to share these twin passions with his new wife. She was an eager
participant.

His father a tailor, his mother a homemaker, Herbert Vogel (Herb to most
of his friends) had grown up in Harlem, on 100th Street between 5th and Madison
Avenues, and later on 105th Street. As an adult, he clerked for the United States
Postal Service, assigned to several different Manhattan branches until he retired in
1979. Starting in the mid-1950s Herb also took classes in art history at the New York
University (NYU) Institute of Fine Arts. Among his teachers were Max Friedlander,
Robert Goldwater, and Erwin Panofsky. These brilliant scholars provided him a his-
torical framework for the art-based adventure he and Dorothy began during their
honeymoon in Washington, DC, where the National Gallery of Art became the set-
ting for her introduction to old master paintings.

Before his marriage, Herb had frequented the early havens of the so-called
abstract expressionists, including Greenwich Village's Cedar Tavern and the artists'
club, and he also had journeyed to the Provincetown, Massachusetts, artists' com-
munity. He still speaks with special warmth about his association with Franz Kline
and David Smith. By the close of the fifties, Herb was painting nights and weekends
in a work space he set up in the Bronx apartment where he was living in 1960 when
he met Dorothy, a librarian for the Brooklyn Public Library system with bachelor's
and master's degrees in library science from Syracuse University and the University of
Denver respectively.5 (She retired in 1990.)

Dorothy's association with Herb introduced her to the practice of painting as
well as the study of art history. Shortly after their marriage, the couple rented a stu-
dio at 41 Union Square, and Dorothy, like Herb, took weekly painting and drawing
classes at NYU. After work and on weekends they developed their budding talents as
abstract painters. Dorothy's hard-edged style presented a strong contrast to Herb's
colorful expressionism. In addition to the time in their studio, they devoted part of
each weekend to prowling New York art galleries, then a far smaller world than now.
Dorothy stated, "It was 57th Street, and then up Madison and the 70s, mainly.""
They started with visits to venues that had been established by the end of the 1950s,
including Grace Borgenicht, Sidney Janis, Tibor de Nag)', Betty Parsons (an artist
herself [see plate 16]), Poindexter, Stable, and Zabriskie. But they quickly expanded
their range and kept abreast of shows at Bykert, Leo Castelli, Paula Cooper, Virginia

FIFTY WORKS FOR FIFTY STATES •

FIGURE 2: John

Chamberlain,
Untitled, 1962,
crushed car metal on
wood base, National
Gallery of Art, Dorothy
and Herbert Vogel
Collection.

Dwan, Rosa Esman, Fischbach, Green, OK Harris, Kornblee, and Holly Solomon.7
"In the beginning it was more looking than buying," Dorothy remembered. "I was
just learning and Herby was the one who thought of perhaps buying."8 They occa-
sionally visit galleries today, but for the past decade the Vogels have tended to learn
about new art and artists directly from artist friends.

Herb made a few art purchases before he married Dorothy, among the earliest
of which was an untitled painted wood wall piece by Giuseppi Napoli (plate 167). To
celebrate their engagement the Vogels jointly selected one of Pablo Picasso's ceramic
vases; and their initial purchase as a married couple, just one month after the event, was
an untitled crushed-car metal sculpture by John Chamberlain (figure 2), now in the Na-
tional Gallery of Art's collection.9 Its selection marked Dorothy's first visit to an artist's
studio. Chamberlain was far less well known than he subsequently would become, and
in 1975 Suzanne Delehanty, then director of Philadelphia's Institute of Contemporary

4 • THE DOROTHY AND HERBERT VOGEL COLLECTION

Art (ICA), applauded this as a most daring acquisition for so early a date.10 The Vogels
installed their few purchases and Herb's paintings in the living room of what had been
Dorothy's Brooklyn apartment, into which Herb settled after their marriage.

Within a year, the couple moved across the East River to an interim Manhattan
space, and by the close of 1963 they were living in the Upper East Side one-bedroom
apartment they inhabit to this day. Two months into their marriage
they adopted their first cat, and since have shared their lives with as
many as seven exotic breeds simultaneously, including flame point Hi-
malayan, Siamese, Manx, Abyssinian, and Rex. (See John Salt's Un-
titled (Vogel Livinjj Room Drawn from Memory), 1972, plate 140.)
Several of the cats have been named for nineteenth- and twentieth -
century artists such as Cezanne, Renoir, and Whistler, because either
the cat's appearance or personality reminded the Vogels of its name-
sake's work. Their menagerie over the years also has included some twenty turtles
from around the world and a diverse community of tropical fish (figure 3).

From the start, the Vogels were committed to having art function as an active
and engaging presence in their lives: "We had a lot of flexibility and we didn't buy a
lot of big furniture that would interfere with the collection. We did not buy, for in-
stance, mirrors [to] compete with the art work."11 Their furniture consisted of multi-
purpose pieces, such as a sofa constructed of flat wooden panels on and against which
pillows would be arranged for seating. These horizontal and vertical panels also could
function as tables and backdrops, respectively, for small sculpture; and a narrow shelf
atop the headboard of their bed was similarly employed (figure 4). Their apartment
essentially became an art gallery, with one wall each devoted to Dorothy and Herb's
abstract paintings. According to Dorothy, "our obsession was really our own work,
in addition to having our jobs. And then we just started buying other artists' work....
I think I got more enthused about collecting than I was about painting.... And you
know, collecting is not easy, it's a lot of hard work, too."12

After about three years of dividing their weekends between studio work and
gallery visits, Dorothy and Herb realized that practicing art required more substantial
dedication and time than they cared to commit. They also were finding more im-
mediate pleasure and long-term gratification in the hours they spent looking at other
artists' work than in those they devoted to creating their own. So in 1965 the Vogels
gave up the Union Square studio and began "[to put] together, through passion and

figure 3: Herbert and
Dorothy Ve/jel with
cats, in front of fish
and turtle tanks, 1992.

FIFTY WORKS FOR FIFTY STATES • 5

figure 4: The Voxels' bed-
room with works by Leo
Valledor, Gary Stephan,
Richard Turtle, Robert
Mangold, Alan Saret,
Ron Gorchov, Joseph
Kosuth, Vito Acconci,
Joseph Beuys, and Peter
Hutchinson, among
others, c. 1975.

trust in their own judgment, an extraordinary collection," to quote the artist Richard
Nonas (plates 148 and 176).13

Herb's salary (and subsequently his pension) served as the couple's resource for
art acquisitions, and Dorothy's was directed to more pedestrian living expenses like
rent, subway fare, and food. She recendy commented that "I paid the bills and Herby
was the mad collector who bought the art."14 Their limited means and space mandated
parameters for what they would buy. They learned a crushing lesson early: having ac-
quired a vertical sculpture by Sol LeWitt, they discovered it was too tall to stand in their
living room. They subsequendy exchanged it for a horizontal piece, Floor Structure
Black, 1965. 15 And LeWitt made a smaller version of the vertical work for them. Draw-
ings soon became the Vogels' focus, eventually making up approximately three-quarters
of their collection, which in great measure is "a record of ideas rather than an assembly
of objects," as it includes many studies for large scale and environmental works.16

When the Vogels started their journey they were part of a relatively small com-
munity of people interested in looking at and collecting contemporary art, but the
number of participants has grown radically since 1962. This becomes evident when
comparing the occurrence of international art expositions now with then (when the

6 • THE DOROTHY AND HERBERT V0GEL COLLECTION

Venice Biennale was one of very few); and by considering the expanding number of
art journals over these years, as well as the increase in their listings for galleries and for
exhibition reviews. (The two journals Herb has consistently read are Art News and
Art in America.) A primary signifier of the Vogels' prescience as collectors is their ear-
ly passion for drawings, which were of considerably less interest to the collecting com-
munity in 1962 than now. But even today drawings tend to appeal to a particular kind
of collector only — one who prizes the intellectual challenges and visceral pleasures
possible at the origins of the artistic process over a more finished presentation.17

Given their essential focus on drawings, the Vogels have nonetheless tried to
acquire examples of every aspect of "their" artists' practices, works that reveal develop-
ment over time. Martin Johnson's art, for example, is represented in the collection by
paintings, sculptures, and works on paper that incorporate collage and photography
(plates 86 and 142). And according to Barry, "looking through the things [the Vogels
have] purchased over the years gives a sense of the way my work has developed. . . . They
have many smaller, more intimate pieces — the personal things artists don't always show
in a gallery. I like that quality and that sense of adventure.... I remember Sol LeWitt
saying to me, T think [the Vogels] have the best collection in the country.'"18

The Vogels credit the directions in which their collection moved to their friend-
ships with artists, in particular Dan Graham (plate 98) and LeWitt. For approximately
one year around 1965, Graham managed the Daniels Gallery which Dorothy and
Herb frequented to look at art and also to engage in conversation. Subsequent to
the gallery's closing, the Vogels and Graham continued to get together, often sharing
dinner. The essential subject of their discussions was the emergence of new art forms,
especially the work of Donald Judd and Robert Morris. When the Vogels decided to
purchase a LeWitt sculpture after the closing of his first solo show, held at Daniels in
1965, the gallery was about to cease operation. So Graham suggested they contact the
artist and conduct the transaction directly, which they did. LeWitt had met Herb be-
fore, "in the late fifties. [He] was painting at the time. He was interested in seeing my
work, so I invited him to my studio. He was then as he is now — enthusiastic. M19 The
friendship thrived and, during the last decades of Le Witt's life, he and Herb spoke by
telephone virtually every Saturday morning, except when the artist was abroad. Simi-
larly Herb has maintained frequent contact, often by telephone, with several other
artists, especially Tuttle (figure 5). The couple's collection of his art is unparalleled.20

The Vogels had purchased a painting by Will Insley (plate 37) from the Stable

FIFTY WORKS FOR FIFTY STATES • 7

FIGURE 5: The Vojjfls

with Richard Tuttle
in bis New York studio,
early 1980s.

Gallery shortly before the LeWitt acquisition, but their serious collecting started with
that August 1965 studio purchase, which also was LeWitt's first sale of his art.21 He
delivered the sculpture to the Vogels' apartment with the help of his artist friend,
Robert Mangold (plate 31), who owned an automobile. Shortly thereafter he and
Sylvia Plimack Mangold (plate 170) would be counted among the Vogels's growing
community of artist friends.

Dorothy and Herb love to talk directly with artists, and they often reiterate
how these conversations are essential not only to their understanding of individu-
als' oeuvres, but also to the expansion of their broader aesthetic appreciation and
knowledge of the field. An avid collector himself, LeWitt's interests, like Graham's,
were immensely influential on the Vogels, who always responded to his suggestions
of exhibitions they should see. An important one was Seth Siegelaub's now legendary

8

• THE DOROTHY AND HERBERT VOGEL COLLECTION

"January Show," where they first encountered the work of Barry, Douglas Heubler,
Joseph Kosuth, and Lawrence Weiner (plate 12 ).22

At the start of the seventies the Vogels gave up European travel to enlarge
their art-buying budget.23 They were being invited to virtually every contemporary
art opening at New York galleries and to important museum celebrations as well.
Always together and notably small in stature (both barely reach five feet tall), the
Vogels were recognizable and stood out in any crowd. At times Herb delighted "in
showing up at openings exuberently 'clashed,' as he puts it, in plaid pants and a
houndstooth overcoat."24 Now that Dorothy is in her early seventies and Herb in his
mid-eighties, they have slowed down somewhat, but in their heyday of some thirty-
five years, they went to as many as twenty-five shows a week, where they would often
encounter artists.

It is common for artists to work in galleries to support their creative work early
in their careers, and in addition to Graham at Daniels, the Vogels met Lynda Benglis
(plates 65 and 85) when she was working at Bykert, and William McWillie Chambers
(plate 129) and Peggy Cyphers (plate 158) when they worked for Grace Borgenicht
and John Weber, respectively. Following LeWitt, it became commonplace for artists
to introduce their artist friends to these enthusiastic collectors; and the Vogels, of
course, would be eager to make studio visits to those artists whose work they knew
and admired.25 Years after they met Nonas at his 1971 show at 1 12 Green Street, an
alternative exhibition space, the artist reported that "[Herb] comes to visit me once
a month, he's consistent. The collection is a real commitment for them, the works
are their children, their pride." Nonas also mentioned the Vogels' comments as early
as 1981 about placing their art in a public institution; he thus viewed his presence in
the collection as "a big responsibility... [part of] a record of American art during these
twenty years."26

The Vogels have focused on artists working in New York City, where studio
visits could be an essential part of their collecting experience.27 European and Ameri-
can artists living elsewhere that are represented in the collection generally visited New
York (or were briefly based there), met the Vogels and saw their collection, and subse-
quently brought work to show them. In addition to buying works directly from artists
and galleries, the Vogels often bid at benefit auctions supporting chanties, political
causes, and arts organizations.

Not intending to make a political statement of any kind, but by buying art they

FIFTY WORKS FOR FIFTY STATES •

FIGURE 6: TljC Vogeh

'with Vat Steir in her
New York studio,
April 4, 2008.

admire Dorothy and Herb have assembled an impressive collection of art by women.28
Edda Renouf and Pat Steir, both of whose work the couple collects in depth, have
spoken enthusiastically about their studio visits, and the strength, in particular, of
Herb's "eye." Renouf described first looking at her paintings with them in the 1970s
this way: "They took their time... looking at my works with full attention [which was]
very inspiring to me and the beginning of our long-lasting friendship based above all
on our mutual devotion and understanding of art."29 Steir (figure 6), who also met
the Vogels in the 1970s, recently commented that for them collecting "became much
more than a hobby, it is a profession. It is extraordinary they could see so well."30

The couple has, together, chosen everything in the collection apart from art-
ists' gifts and occasional exceptions when Herb (the more inveterate studio visitor)
selects a work in Dorothy's absence. Their judgment is complementary, each agreeing
that the other is better at selecting a particular kind of art. As they describe it, the
breakdown reflects their youthful painting styles: Herb is in the forefront when select-
ing more flamboyant post-minimalist art, for example by Lucio Pozzi (plates 54 and
123), with Dorothy more keen when considering work of a conceptual and minimal
orientation, especially by LeWitt.

Dorothy's librarian background undoubtedly nourishes her commitment to
maintaining documentary files on artists represented in the collection (and many who
are not). She assiduously collects and organizes exhibition announcements and clips
journal and newspaper articles, including solo and group show reviews. Housed at

10 • THE DOROTHY AND HERBERT VOGEL COLLECTION

the Archives of American Art (AAA) in Washington, DC, this rich resource is pep-
pered with personal correspondence. 31 And in addition to postcards enhanced with
sketches that have been accessioned by the NGA, the rest of the Vogels' postcards
from artists are housed in the NGA Archives and currently number approximately
160 pieces, many of which likewise are annotated with drawings.

Dorothy and Herb's 1981 "Collection of Thoughts on the Vogel Collection"
in the 4x 7 Selections from the Vogel Collection exhibition catalogue beautifully articu-
lates how the couple's lives are defined by their collecting:

Collecting is not just buying art works but it is also the whole experience
of being part of the art world. It means going to artists' studios, openings,
galleries, and museums, and seeing, reading, talking, and thinking about art
every spare moment of the day. It means rushing through dinner to go to an
opening, continually filling out loan forms, clipping articles from newspapers
and magazines for our archives, constantly meeting new people, strangers
stopping us in the street because we met them years ago at a lecture or an
opening, missing a movie or a play because there is no time, getting up early
on Sunday morning because there is no time, and having to schedule super-
market visits or else we would have no food in the house. Our life is indeed
hectic, but we love it. We are constantly seeking new art and artists and have
so far been able to find and collect it.... It is most gratifying to be a part of
the art world of our time, to inspire some artists, collectors and curators.32

THE COLLECTION GOES PUBLIC

Around 1970, increasing numbers of artists started asking the Vogels to see the col-
lection. Renouf remembered that "it was immediately clear to me that for the Vogels,
their apartment was not only for them to live in; it was for housing what was most
essential and important in their lives — the art works.33 Once people started visiting
them to see the collection, they would tell others, so within a very short period of
time, there were many visitors, who might join the Vogels for dinner, first at home,
and then at local German or Chinese restaurants.

Knowledge of the collection quickly spread, leading to visits from internation-
al museum professionals — from Europe at first, particularly Belgium, Germany, and
Holland. "When curators come from Europe they visit the Museum of Modern Art,
the Whitney, and the Vogels' apartment," Nonas reported.34 Despite this interest from
foreign curators, apart from individual works, the Vogel Collection was not exhibited
abroad until 1987 when Beyond the Picture: Works by Robert Barry, Sol LcWitt, Rob-

FIFTY WORKS FOR FIFTY STATES • 11

figure 7: Dorothy and
Herbert Vogel at Tlie
Clocktower with a
drawing by Philip
Pearlstein behind
them, 1975.

ert Mangold, Richard Tattle from the Collection, Dorothy & Herbert Vogel, New York,
opened at the Kunsthalle, Bielefeld, Germany. On this side of the Adantic, however, the
collection was brought to public view more than a decade earlier.

From mid-April through mid-May 1975, the first Vogel Collection exhibition
was installed in Manhattan at The Clocktower gallery (figure 7). Selections from the
Collection of Dorothy and Herbert Vogel initiated a Collectors of the Seventies series at
this SoHo exhibition space sponsored by the Institute for Art and Urban Resources.35
According to the accompanying catalogue, the show was selected and installed by
Dorothy and Herb. It focused on the minimal and conceptual aspects of the col-
lection and included one work by each of forty-two artists, among them Stephen
Antonakos (plates 49 and 185), David Rabinowitch (plate 55), and Ruth Vollmer

!

\

vfl

•1

mm

•

J

)

(plate 104). A statement by Alanna Heiss, the institute's president, referred to the
Vogels as "underground figures in the New York art world for years [who] have
been collecting brilliantly and obsessively since 1962. "36 Later that year, a larger but
similarly focused show, Painting, Drawing and Sculpture of the '60s and the '70s from
the Dorothy and Herbert Vogel Collection, organized by Philadelphia's ICA, included
more than 200 of approximately 500 works then in the collection. Delehanty praised
the collection in the catalogue as "an excellent educational resource for the study of
aesthetic activities during the last decade." And in a April 21, 1975 letter to the Vo-
gels, Jack Boulton, director of the Contemporary Arts Center in Cincinnati, Ohio,
to which the ICA show traveled, praised them for exemplary "scholarly stewardship
toward building a collection."37

In an effort to correct the already commonly held misconception that the
Vogel Collection consists entirely of the minimal and conceptual art included in
The Clocktower and ICA shows, in 1977 Bret Waller, director of the University of
Michigan Museum of Art, selected a more diverse group of artists for Works from
the Collection of Dorothy and Herbert Vogel, including, John Torreano- (plate 80) and
Judy Rifka (plate 44), among others of a post-minimalist orientation. Nevertheless,
even today, the public continues to associate the Vogel Collection with minimal and
conceptual art.

Exhibitions continued through the 1980s, including the 20th Anniversary Ex-
hibition of the Vogel Collection, organized in 1982 by the Brainerd Art Gallery at the
State University College of Arts and Science in Potsdam, New York. It also marked
the twentieth anniversary of the couple's marriage, and was accompanied by a hand-
some catalogue designed by Barry. Drawings from the Collection of Dorothy and Her-
bert Vogel, at the University of Arkansas at Little Rock in 1986, celebrated the works
on paper in the collection, and the catalogue included individual brief essays about
every artist in the show. It was the most substantial publication about the collection
to that date. The decade closed with From the Collection of Dorothy and Herbert Vo-
gel, organized in Dorothy's hometown of Elmira in 1988 by the Arnot Art Museum,
which traveled to four additional venues through 1989. By this time the Vogels and
their collection had been featured in many mass media publications, including New
York and People.™ And they were frequent participants in lecture series and panel dis-
cussions about collecting contemporary art.

A dramatic change to the Vogels' apartment was slowly taking place. When

FIFTY WORKS FOR FIFTY STATES • 13

drawings that had been framed for public presentation were returned at the close
of these several exhibitions, the sheets took up much more space than previously,
when they we're stored unframed in folders and boxes. As the 1970s turned into the
1980s the Vogels had no choice but to maintain part of their collection in exhibition
shipping crates, which gradually displaced their furniture. Eventually their apartment
was transformed from its function as an art gallery to that of an art warehouse. This
circumstance, plus their advancing ages, caused Dorothy and Herb to think more seri-
ously about a permanent home for their treasures.

GIFTS TO THE NATION I:

THE NATIONAL GALLERY OF ART, WASHINGTON H

Over the years, major institutions such as New York's Solomon R. Guggenheim Mu-
seum had expressed interest in acquiring the Vogel Collection.39 The fit never seemed
quite right to Dorothy and Herb, however, until Jack Cowart, then curator of twenti-
eth-centurv art at the NGA, initiated a conversation about the National Gallerv's ex-
panding representation of contemporary art. As curator at the Wadsworth Atheneum
in the early 1970s, Cowart had followed minimal and conceptual art through LeWitt,
Carl Andre, Morris, and Lucy Lippard, and he certainly was aware of the Vogels
and their collection before he actually met them, probably in the late 1970s.40 Both
Cowart and the Vogels remember talking to each other at a Museum of Modern Art
luncheon in the mid-1980s, around the time the museum reopened after renovation.
Cowart suggests he first visited the Vogel's apartment around 1986. The following
year, when they were finalizing their twenty-fifth anniversary celebration — a return
visit to their honeymoon city — Dorothy and Herb scheduled an appointment with
Cowart. He enthusiastically introduced them to the workings of the NGA and to col-
leagues engaged with contemporary art.41 Further conversations about the NGA as a
possible home for the collection ensued. Two things that made the National Gallery
attractive to the Vogels were the free admission to everyone at all times and a poli-
cy against deacessioning objects (other than duplicate prints) that are accepted into
the collection.

When the Vogels visited the NGA in 1962, the East Building had yet to be de-
signed. Apart from a selection of prints and drawings, contemporary artists essentially
were represented in the NGA collection by artists of Picasso's generation. Alive, but
quite advanced in years, their art bore no relationship to that of the young radicals the

14 • THE DOROTHY AND HERBERT VOGEL COLLECTION

Vogels were starting to collect. This circumstance changed
drastically when the East Building opened in 1978, after
which contemporary art maintained a siable place in the
NGA's embrace. By the time the aquisition of the Vogel
Collection was under discussion, exhibition and collecting
practices at the National Gallery had expanded to include
a substantial representation of art from the later twentieth
century. Nevertheless, the Vogels' interests presented the
potential for a massive departure from previous concerns,
which primarily had focused on the abstract expressionist
generation.

As the conversation about a relationship between the
Vogels and the NGA progressed, it became clear that it was
not possible to view more than a small fraction of the
collection. While paintings and drawings covered their
apartment walls, and objects were suspended from ceilings
and resting on every available flat surface (figure 8), much
of the collection was buried. According to Cowart, "There
was this mountain of wrapped art. Crates on top of crates on top of boxes. The ac-
tual apartment had reduced itself to maybe 15 square feet. You had these tantalizing
glimpses of things — a Donald Judd sculpture or a Michael Lucero ceramic piece."42
For the collection to be seen in its entirety, the art had to be transferred either to a
warehouse or to the National Gallery itself, and the latter was determined to be the
best solution.

In late summer 1990, two staff members from the NGA registrar's office, Anne
Halpern and Gary Webber, made a reconnaissance trip to the Vogels' apartment (fig-
ure 9). They calculated that it would require five truck shipments to bring the collec-
tion to Washington — and it did. 43 More than 2,400 works of art were transferred in
September and October, followed by many months of intense activity on the part of
Cowart and several assistants — as well as staff from multiple departments — working
to unpack, check in, and provide museum-appropriate housing for the collection. The
Vogels traveled back and forth from New York to provide assistance and information.
Laura Coyle, then a member of the twentieth-century art department's staff, remem-
bered how the experience "made me realize that passion, commitment, vision, and

figure 8: Entrance to
the Vogel apartment,
c. 1975, with works
on display at left (top
to bottom) by Rich-
ard Tattle, Richard
Artschwajjcr, Mark
DeSiirero, and Christo;
a work by Judy Rifka is
on the door.

FIFTY WORKS FOR FIFTY STATES • 15

figure 9: Gary Webber
packing art for
transfer from the
Vogel apartment to
Washington, 1992;
the collectors are looking
on, with Jack Cowart
and associate in
background.

the ability to set priorities and make sacrifices are more important than wealth when
it comes to building an art collection. Though it never hurts to have money also."44
Once the art was properly stored in Washington, it was reviewed by everyone involved
in NGA collection-building decisions: curatorial staff; J. Carter Brown and Roger
Mandell, director and deputy-director at the time; and eventually the trustees.

J. Carter Brown heralded the National Gallery's relationship with the Vogels at
a National Press Club lunch on January 7, 1992, and the acquisition was included in
a press release two days later. Through gift and partial purchase (the former far out-
weighing the latter) the NGA had acquired from Dorothy and Herbert Vogel 214
works by Andre, Richard Artschwager, Benglis, John Cage, Christo, Judd, LeWitt,
Robert Mangold, Sylvia Plimack Mangold, Joel Shapiro, and Tuttle, and had entered
into an agreement that made other works available to the National Gallery. Given the
understanding that the collection was too large ever to be accessioned in its entirety,
conversations ensued about placing portions of the VogePs art with other institutions.

The first Vogel Collection exhibition in Washington was organized by Mark
Rosenthal (who had succeeded Cowart as curator of twentieth-century art), his as-
sociate Molly Donovan, and the present writer. On view in 1994, From Minimal to
Conceptual Art: Works from the Dorothy and Herbert Vogel Collection highlighted what
had remained the best-known aspects of the collection (figure 10). In 2002 Donovan
organized Christo and Jeanne-Claude in the Vogel Collection. And over the years, many
works acquired from the Vogels have been installed in the East Building's perma-

16 • THE DOROTHY AND HERBERT VOGEL COLLECTION

nent collection galleries, including LeWitt's Wall Drawing No. 681C. A wall divided
vertically into four equal squares separated and bordered by black bands. Within each
square, bands in one of four directions, each with color ink washes superimposed., which
has been on view at the entrance to the auditorium almost without interruption since
1993.45 According to Donovan, "The Vogel Collection not only deepened our hold-
ings of numerous artists' work, but greatly expanded our relationships with those art-
ists as well. In countless cases the National Gallery has built strong ties to the artists
in the Vogel Collection as a direct result of the Vogels' beneficence."46

The NGA worked closely with other institutions both on individual loan re-
quests, and in support of exhibitions drawn entirely from the Vogel Collection, such
as The Poetry of Form: Richard Tattle's Drawings from the Vogel Collection (1992),
which opened at the Institute Valenciano de Arte Moderno, Valencia, Spain, was on
view at the Indianapolis Museum of Art (1993), and traveled to the Museum of Fine
Art, Santa Fe ( 1995). Women Artists in the Vogel Collection ( 1998) was organized by
Brenau University in Gainesville, Georgia. Both of these exhibitions combined works
that are part of the National Gallery's holdings and those that remained on deposit,

9

now to be part of the Fifty Works for Fifty States program.

Dorothy and Herb continue to travel to Washington twice a year to meet with
NGA staff about a melange of issues related to the collection, including conservation
discussions — primarily with Jay Krueger, senior conservator of modern paintings —
and oral history interviews that will be housed in the National Gallery Archives. Be-
fore each trip they send a list of works from their collection that they would like to see
during their stay, what has become Dorothy and Herb's way to visit works they think
of as "old friends." Their recent acquisitions are brought from New York to the NGA
on a periodic basis. By the close of 2007, a total of 1,100 works had been acquired by
the NGA or designated as promised gifts, and plans for The Dorothy and Herbert Vogel
Collection: Fifty Works for Fifty States were in place.

GIFTS TO THE NATION PART II:

THE DOROTHY AND HERBERT VOGEL COLLECTION:

FIFTY WORKS FOR FIFTY STATES

As the twentieth century turned into the twenty-first and the Vogel Collection had
reached a critical mass of some 4,000 works, Dorothy and Herb were ready to final-
ize plans for donations to additional museums. A broadly based philanthropic effort

FIFTY WORKS FOR FIFTY STATES •

17

figure 10: The Vogels at
the opening reception
o/Trom Minimal to
Conceptual Art: Works
from the Dorothy and
Herbert Vogel
Collection, May 25,
1994.

seemed best, one that would offer opportunities for works by the
artists they admire to be seen on a regular basis throughout the
country. Their decision was to donate fifty works ( many of which
consist of multiple parts) to the permanent collections of one in-
stitution in each of the nation's fifty states. Tided TJje Dorothy and
Herbert Vogel Collection: Fifty Works for Fifty States, the project
provides for a total donation of 2,500 drawings, paintings, ob-
jects, prints, and photographs by 177 artists.
The Vogels' plan is modeled on Samuel H. Kress's vision of making his entire
collection of old master paintings and sculptures available to the public, for which
purpose the Kress Foundation was chartered in 1929. When the NGA opened in
1941, 375 paintings and 18 sculptures from the Kress Collection were on view. Like
the Vogel Collection, the Kress Collection continued to grow, and by 1961 when the
Kress Foundation's gifts were completed, paintings and sculptures had been distrib-
uted to forty-four institutions throughout the United States, including twenty-three
colleges and universities, plus the NGA.47 The Vogels hope their national program
will enable museums to exhibit work by contemporary artists they otherwise might
not have been able to acquire, just as the Kress Foundation's gifts enables them to
showcase earlier masters.

Dorothy and Herb used a range of personal criteria to determine institutions
to which they would offer gifts. Some had exhibited aspects of the collection or had
invited the Vogels as speakers; others were staffed by professionals the couple had
worked with over the years, or were in cities that had meaning to one or the other
of them, like Buffalo, where Dorothy earned her bachelor's degree. For some states
they based their decisions on research that identified institutions with a demonstrated
interest in contemporary art.

The enthusiasm of Dana Gioia, NEA chairman, generated the idea for this publica-
tion, and Anne-Imelda Radice, director of the IMLS, with equal vigor, offered to
fund the dissemination costs of the project.48 Radice also suggested the development
with IMLS support of a groundbreaking educational Web site to document the proj-
ect: www.vogel50x50.org. The site links the fifty institutions across the country in
a major collaborative undertaking that at the outset echoes the content of this book.
But each institution will have the option over time to expand its segment of the site,
adding new data about the works in its gift. In that way the site eventually will be able

18

• THE DOROTHY AND HERBERT VOGEL COLLECTION

to carry a complete record of The Dorothy and Herbert Vogel Collection: Fifty Works for
Fifty States initiative.

"Insight, Persistence & Daring: The Dorothy and Herbert Vogel Story" is the
apt title of a recent piece about the Vogels1 collecting practice. 49 But a more rigorous
version of that story is told in a feature-length documentary film, Herb and Dorothy,
produced and directed by Megumi Sasaki, that is in its final production stage as this
book goes to press."'0 Any full description of the couple must convey their capacity for
friendship. It is apparent from the many works of art they have received as gifts from
artists to mark birthdays, anniversaries, and other special events, many of them bear-
ing affectionate inscriptions. Friendships are further documented in the Vogel Collec-
tion archives at the AAA and the NGA, where letters, notes, and postcards from artists
and their spouses (and occasionally their children) mention wonderful dinner parties
at the couple's apartment, thank them for their support, and report on the writers'
travels, often emphasizing art they encountered that particularly excited them. All of
this, taken together, offers a picture of Dorothy and Herb as a gregarious couple who
embrace artists and their clans as family.

9

The Vogels' warm and daring modus operandi is also apparent to viewers of the
collection who have never actually met Dorothy or Herb, like Lyle Peterzell, who
photographed the art for this volume. He commented:

I was only vaguely aware of the Vogel's as major modern collectors... going
into this project. I don't think anything could have prepared me for the va-
riety and intensity of the art.... It became apparent after a few days of shoot-
ing that the pieces were having an impact on me.... the common thread
seemed to be that, although these were serious works of art, they came from
a free-spirited, calm, and joyful place. It was hard to not feel good just being
around them, and leave feeling uplifted at the end of the day.51

Long admired for the distinctive nature of the collection they assembled over forty-
five years, and for their many supportive efforts on behalf of artists, Dorothy and
Herbert Vogel were counted among the world's top art collectors in several Art
Newsarmual listings, and they are included in James Stourton's recent text, Great Col-
lectors of our Time: Art Collecting Since 1945.S2 Tlje Dorothy and Herbert Vogel Collec-
tion: Fifty Works for Fifty States is an initiative of creative generosity that undoubtedly
would also place the Vogels on any proposed list of the world's top art benefactors,
celebrated and influential participants in the arena of contemporary art.

FIFTY WORKS FOR FIFTY STATES • 19

POSTSCRIPT

The National Gallery of Art's April 2008 press release about The Dorothy and Herbert
Vogel Collection: Fifty Works for Fifty States listed the first ten museums to which the
Vogels were making donations from their collection. Its publication in the art press
immediately generated a flurry of requests from museum staff throughout the coun-
try, eager to become part of the project. By then, however, the Vogels already had
determined the additional forty institutions, but had yet to contact them, engaged
as they were in the process of finalizing object lists to include in the letters offering
their gift.

As this book goes to press all fifty' institutions have accepted the Vogels' gener-
ous gift offer and the distribution of the works of art to museums is underway. Ex-
hibitions including these gifts are planned, selectively in upcoming shows of recent
acquisitions (in advance of exhibiting the gift as a whole), as well as in special exhibi-
tions featuring the entire gift. "Sharing it Out" by Louise Nicholson in the July 2008
issue of Apollo quotes Dorothy summing up the Fifty Works for Fifty States project as
"50 different entities but still our collection, brought together by a website."53 And
also this book. Reinforcing the connectedness of the collection, communications al-
ready are taking place between recipient museums; and curatorial staff are in contact
with artists whose work is included in the collection, eager to learn more about the
art they received. Thus, the vision of The Dorothy and Herbert Vogel Collection: Fifty
Works for Fifty States project as a way of keeping the Vogel Collection together while
also sharing it throughout the country is taking shape.

Additionally, Herb and Dorothy, the 85-minute documentary film directed by
Sasaki, which includes lengthy interviews with the couple and several of their artist-
friends, was previewed in June 2008 at the Silverdocs film festival in Silver Spring,
Maryland. Following two showings (one in a packed 400-seat auditorium), the film
received the Audience Award for the festival's most popular feature-length presenta-
tion. Dorothy and Herb, who attended the festivities, were given standing ovations
from the audiences at the end of each viewing. Sasaki closed the film with an an-
nouncement of The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States
project, sparking questions and comments during the discussion periods following
the viewings that were equally attentive to the couple's generous gifts to museums
throughout the country as they were to Sasaki's extraordinarily warm and cogent
rendition of the Vogels' focused life as collectors.

20

• THE DOROTHY AND HERBERT VOGEL COLLECTION

NOTES

1 The title quotation is from Dorothy and Herbert Vogel, "A Collection of Thoughts on the
Vogel Collection, " 4x 7 Selections from the Vogel Collection [exh. cat.:William Paterson College
Ben Shahn Gallery] (Wayne, New Jersey, 1981 ), unpaginated. Typographical errors and
misspellings in the published text have been corrected with approval from the Vogels.

2 Edward J. Sozanski, "The Simple Collectors," The Philadelphia Inquirer (July 26, 1994), El.

3 Edward Wyatt, "An Art Donor Opts to Hold on to His Collection," The New York Times
(January 8, 2008), Bl, reports that Eli Broad announced his intention to maintain his collection
in a foundation that will make loans to museums, preferring the works be on view in a range of
institutions rather than owned by and held in storage at one. The Vogels1 goal is similar, but they
hope to achieve it by placing ownership and responsibility for the art in the hands of multiple
institutions.

4 Dorothy Vogel in a tape-recorded interview by the author on January 29, 2001. An interview
with Herbert also was made that day. The Vogels describe this as the first time each of them was
interviewed individually. Additional individual interviews were recorded on June 20, 2001, along
with a joint interview on June 2, 2003, for the National Gallery of Art Archives Oral History
Program. Subsequent endnotes reference these interviews as DV followed by the interview date.
Other data in this essay is based on conversations with one or both of the Vogels over the past
eighteen years, in person, by telephone, and via e-mail. The accuracy of my memory and undated
notes have been confirmed by the collectors.

5 The Vogels met at a social for vacationers at Tamiment, a resort in the Pocono Mountains thaj
Dorothy had visited. Herb had not, but he read about the event in the New York Post and thought
it would be a good place to meet people. He was right.

6DV, June 20,2001.

' In addition to those identified in the text by their eponymous gallery names, Klauss Kertess,
director of Bykert Gallery from 1968 through 1975, and Richard Bellamy at Green Gallery were
helpful and influential in these early years of the Vogels' collecting.

8 DV, e-mail to author, April 14, 2008.

9 Accession number 2007.6.96.

10 Suzanne Delehanty, "Foreword," Painting, Drawing and Sculpture of the '60s and the '70s from
the Dorothy and Herbert Vogel Collection [exh. cat., Institute of Contemporary Art, University of
Pennsylvania]( Philadelphia, 1975), 3.

11 DV, June 20,2001.

12 DV, June 20,2001.

13 Nonas in 4.x 7 Selections from the Vogel Collection.

14 DV, telephone conversation with author, April 1 1, 2008.
is Accession number 1991.241.53.

16 Delahanty, Foreword, 4.

17 Werner H. and Sarah-Ann Kramarsky formed a major drawings collection during a similar
time frame as the Vogels. They, too, have donated or promised much of it to museums. See
Amy Eshoo, ed. 560 Broadway: A New York. Drawings Collection at Work, 1991-2006, New York,
New Haven, and London, 2008. Kramarsky's Fifth Floor Foundation is establishing a Web site-
highlighting the importance of drawings: www.aboutdrawing.org.

FIFTY WORKS FOR FIFTY STATES • 21

18 Barrv in 4x 7 Selections from the Vogel Collection, unpaginated.

19 LeWitt in 4 x 7 Selections from the Vogel Collection, unpaginated.

20 The Vogels gifts of Tuttle's art to the NGA number almost 300 works, and they are donating
multiple works by him to every museum in the Fifty Works for Fifty States project.

21 It was an untitled sculpture, painted gold. LeWitt later asked the Vogels to exchange it for a
more recent work (described earlier, which would not stand up in their apartment). They have
since regretted agreeing to that exchange, all the more so because LeWitt eventually destroyed the
gold-painted work.

22 The show was held at 1 100 Madison Avenue from January 5-31, 1969. There is a catalogue.

23 They traveled abroad for pleasure in 1963, 1965, and 1970, devoting much of their time to
museum visits. Subsequently all of their travel to Europe was related to exhibitions drawn from
their collection and Tuttle's solo shows.

24 Sara Rimer, "•Collecting Priceless Art, Just for the Love of It," The New York Times (February
11, 1992).

25 The Vogels report that they do not make studio visits to artists whose work is unknown to
them, thereby avoiding encounters in which they find the work to be of no interest.

26 Nonas in 4 x 7 Selections from the Vogel Collection, unpaginated.

27 Some artists who prefer collectors not visit their studios requested anonymity in reporting that
this circumstance essentially ended their association with the Vogels.

28 See Women Artists in the Vogel Collection (exh. cat., Brenau University) [Gainesville 1998].
2y Renouf, e-mail to author, January 15, 2008.

30 Quoted by Jacqueline Trescott in "Avant-Garde Art Collection to Be Split Among All 50
States," The Washington Post (April 11, 2008), C4.

31 The Dorothy and Herbert Vogel Papers, Archives of American Art, Smithsonian Institution
(AAA) include personal letters and published materials related to most artists represented in the
collection and others who are not.

32 Dorothy and Herbert Vogel, "A Collection of Thoughts on the Vogel Collection," in 4 x 7
Selections from the Vogel Collection, unpaginated.

33 Renouf, letter to author, January 15, 2008.

34 Nonas in 4 x 7 Selections from the Vogel Collection, unpaginated.

35 The Clocktower gallery opened in 1973 in the penthouse of the old New York Life Insurance
Building at 346 Broadway, between Leonard and Lafayette Streets. Several artists the Vogels
admired had solo exhibitions there prior to the exhibition from their collection. The couple's
advocacy for artists whose work they collect has included their insistence that exhibitions from
their collection be documented by publications, however modest, to make the artists better
known .

36 The title page of the exhibition checklist describes Collectors of the Seventies as "A series of
presentations about collectors of contemporary art." Heiss' introductory statement describes
the project as illustrating "a diverse approach to collecting, from buying drawings to sponsoring
projects."

7 Vogel Papers, AAA. Other exhibitions mentioned in this essay also traveled beyond the
organizing institution as recorded in the bibliography.

22

• THE DOROTHY AND HERBERT VOGEL COLLECTION

38 Anthony Haden-Guest, "A New Art-World Legend: Good- by, Bob and Ethel; Hullo, Dorothy
and Herb!" New York (April 28, 1975), 46-48; and Harriet Shapiro, "Using Modest Means, the
Vogels Build a Major Collection," People (September 8, 1986), 59-65.

39 In an October 26, 1976 letter, Thomas M. Messer, the Guggenheim's director, makes mention
of tentative discussions regarding the possibility of the collection eventually coming to that
museum, Vogel Papers, AAA.

40 Cowart, e-mail to author, January 5, 2008.

41 In a November 11, 1986 note in the Vogel Papers, AAA, Cowart suggests several January dates
that would work for a visit to the National Gallery. This writer met the Vogels during this visit.

42 Rimer, 1992.

43 Works were brought to Washington by Atlantic Storage on September 5, 11, 12, 18, and
October 17. We are grateful to the detailed notes and splendid memory of Anne Halpern for data
related to the transfer. Mary Suzor was the National Gallery's acting chief registrar at the time.

44 Coyle, e-mail to author, April 15, 2008.

45 Accession number 1993.41.1

46 Donovan e-mail to author, April 13, 2008

47 I am grateful to Maygene Daniels, chief of National Gallery Archives, for providing data about
the Foundation's gifts.

48 Robert Frankel, director of museums and visual arts at the NEA, and Marsha Semmel, deputy
director for museums and director for strategic partnerships at the IMLS, orchestrated the project
for their agencies.

49 The segment is in Estelle Ellis, Caroline Seebohm, and Christopher Simon Sykes, At Home
with Art: How Art Lovers Live with and Care for their Treasures (New York, 1999), 80-83. In
Emily Hall Tremaine: Collector on the Cusp (Meriden, Connecticut, and Hanover, New
Hampshire, 2001), 2, Kathleen L. Housley names "great collectors of modern and contemporary
art" of the Tremaines' generation: "Peggy Guggenheim, several members of the Rockefeller
familv, Raymond and Patsy Nasher, John and Dominique de Menil, Herbert and Dorothy Vogel,
Stanley Marsh, Edgar Kaufman, Victor and Sally Ganz, and Robert and Ethel Scull."

50 Herb and Dorothy premiered at SILVERDOCS Film Festival, June 16-23, 2008, Silver Spring,

Maryland.

51 Peterzell, e-mail to author, April 18, 2008.

52 London, 2007, 156-158, under the category "New York Modernists" which also includes
Victor and Sally Ganz and Agnes Gund.

53 Louise Nicholson, "Sharing It Out," Apollo 168 (July/August 2008), 56-59.

FIFTY WORKS FOR FIFTY STATES • 23

HERBERT AND DOROTHY VOGEL: SELECTED BIBLIOGRAPHY

Books and Articles

'The ARTnews 200. [The World's 200 Top Collectors]" ARTnnvs95 (Summer 1996),
122.

Barnett, Catherine. "A Package Deal: With Very Little Money But Lots of
Determination, The Vogels Have Put Together an Incredible Collection of Art."
Art & Antiques (Summer 1986), 39-41.

Berman, Avis. "Papers and Documents Received." Archives of American Art Journal A2
no. 1/2(2002), 50-5.

Cembalest, Robin. "We're Giving It to the Whole Country." ARTnews 91 (March
1992), 34-5.

Cox, Meg. "Postal Clerk and Wife Amass Art Collection in New York Flat." Wall Street
Journal, January 30, 1986, 1, 20.

D'Arcy, David. "The Unlikely Medici: A Pair of Art Fans Assemble What May Be the
'Premier Collection' of Its Type." Los Angeles Times, January 16, 1992, Fl, F8, F9.

Donovan, Molly. "Minimal to Conceptual: The Dorothy and Herbert Vogel
Collection." American Art Review 6 (October-November 1994).

Ellis, Estelle, Caroline Seebohm, Christopher Simon Sykes. "Insight, Persistence &
Daring: The Dorothy & Herbert Vogel Story." In At Home with Art: How Art Lovers
Live with and Care for Their Treasures. New York: Clarkson Potter/Publishers, 1999,
80-83.

Flack, Michael. "The Vogel Collection: A Sense of Ordered Purposefulness." Drawing
18 (Spring 1997), 97-100.

Gardner, Paul. "Look! It's the Vogels!" ARTnews 3 (March 1979), 84-88.

Gardner, Paul. "Mesmerized by Minimalism." Contemporanea — International Art
Magazine 9 (December 1989), 56-61.

Gardner, Paul. "An Extraordinary Gift of Art from Ordinary People." Smithsonian 7
(October 1992), 124-26, 128, 130, 132.

Gardner, Paul. "Good Hands, Good Eyes." ARTnews96 (December 1997), 26.

Haden-Guest, Anthony. "A New Art-World Legend: Good-by, Bob and Ethel; Hullo,
Dorothy and Herb!" New York (April 28, 1975), 46-48.

Hemphill, Chris. "The Vogels: Minimal Collectors." Interview 5 (May 1974), 19.

Lewis, Jo Ann. "National Gallery's Cache Advantage: Vogels Promise Vanguard
Collection." The Washington Post, January 8, 1992, CI, C3.

24

• THE DOROTHY AND HERBERT VOGEL COLLECTION

Mandell, Jonathan. "Maximum Minimalism." New York Newsday: Part II, January 23,
1992,60,61,89.

Rimer, Sara. "Collecting Priceless Art, Just for the Love of It." New York Times,
February 11, 1992,A1,B4.

Ryan, Michael. "Trust Your Eye." Parade Magazine (April 12, 2002 ), 10-11.

Shapiro, Harriet. "Using Modest Means, die Vogels Build a Major Collection." People
(Septcmber8, 1986), 59-65.

Simmons, Kenna. "The Collective Eye." Horizon 8 (October 1988), 14-16.

Stourton, James. "Dorothy and Herb Vogel." In Great Collectors of Our Time: Art
Collecting Since 1945. London: Scala Publishers Ltd., 2007, 156-58.

Vogel, Carol. "National is Pledged 2,000-Work Collection." New York Times, January 8,
1992, C13.

Exhibition Catalogues

4 X 7: Selections from the Vogel Collection. Ben Shahn Gallery, William Paterson College,
Wayne, New Jersey, October 10 - November 11, 1981.

20th Anniversary Exhibition of the Vogel Collection. Brainerd Art Gallery, State Univer-
sity, College of Arts and Science, Potsdam, New York, October 1 - December 1, 1982:
Gallery of Art, University of Northern Iowa, Cedar Falls, [erroneously published as
Cedar Rapids] Iowa, April 5 - May 5, 1983.

Beyond the Picture: Works by Robert Barry, Sol LeWitt, Robert Mangold, Richard Tuttle
from the collection Dorothy & Herbert Vogel, New York. Kunsthalle Bielefeld, May 3 -
July 5, 1987.

Christo and Jeanne-Claude in the Vogel Collection. National Gallery of Art, Washington,
February 3 - June 23, 2002. Essay by Molly Donovan.

Drawings from the Collection of Dorothy and Herbert Vogel, Department Art Galleries,
The University of Arkansas at Little Rock, September 7 - November 16, 1986; The
University of Alabama Moody Gallery of Art, University, February 2 - February 27,
1987; The Pennsylvania State University Museum of Art, University Park, March
15 -May 10, 1987.

From the Collection of Dorothy and Herbert Vogel, Arnot Art Museum, Elmira, October
15 - December 31, 1988; Grand Rapids Art Museum, January 27 - March 19, 1989;
Terra Museum of American Art, Chicago, April 8 - June 4, 1989; Laumeier Sculpture
Park, St. Louis, June 18 - August 13, 1989; Art Museum at Florida International
University, Miami, September 15 - November 10, 1989.

FIFTY WORKS FOR FIFTY STATES • 25

From Minimal to Conceptual Art: Works from The Dorothy and Herbert Vogel Collection.
National Gallery of Art, Washington, May 29 - November 27, 1994. With Essay by
John T. Paoletti. Interview with the Vogels by Ruth Fine.

Painting, Drawing and Sculpture of the '60s and the '70s from the Dorothy and
Herbert Vogel Collection. Institute of Contemporary Art, University of Pennsylvania,
Philadelphia, October 7 - November 18, 1975; The Contemporary Arts Center,
Cincinnati, December 17, 1975 - February 15, 1976.

Tlje Poetry of Form: Richard Tuttle, Drawings from the Vogel Collection. Institute
Valenciano de Arte Moderno, June 25 - August 30, 1992 and at the Indianapolis
Museum of Art, October 2 - November 21, 1993. [traveled to Museum of Fine Arts,
Santa Fe, New Mexico, 1995]

Selections from the Collection of Dorothy and Herbert Vogel, The Clocktower, The
Institute for Art and Urban Resources, New York, April 19 - May 17, 1975. (Part I
of "Collectors of the Seventies: A Series of Presentations about Collectors of
Contemporary Art.")

Women Artists in the Vogel Collection. Brenau University, Gainesville, Georgia, February
5 - April 5, 1998. With Essays by Molly Donovan and Ruth Fine.

Works from the Collection of Dorothy and Herbert Vogel. The University of Michigan
Museum of Art, Ann Arbor, November 11, 1977 - January 1, 1978.

26 • THE DOROTHY AND HERBERT VOGEL COLLECTION

Fifty Works for
Fifty States

Museum Gifts

NOTE TO THE READER

Listings of museum gifts are organized in alphabetical
order by state.

The following information is supplied for each
museum section:

1 . An alphabetical list of the artists whose work is
included in that state's gift

2. Illustrations of four works from each gift accompanied
by basic catalogue information as known:

• artist's name

• artist's nationality, dates

• object title, date

• medium

• size in inches, height before width before depth

At least one work is illustrated by every artist
represented in the Dorothy and Herbert Vogel
Collection: Fifty Works for Fifty States initiative.

FIFTY WORKS FOR FIFTY STATES • 27

ALABAMA

Birmingham Museum of Art

BIRMINGHAM

ERIC AMOUYAL • WILL BARNET • ROBERT BARRY • MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH
RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • MARTIN JOHNSON • STEVE KEISTER
MARK KOSTABI • CHERYL LAEMMLE • MICHAEL LUCERO • ROBERT MANGOLD • ALLAN MCCOLLUM
RICHARD NONAS • LUCIO POZZI • DAVID RABINOWITCH • DAVID REED • EDDA RENOUF
RICHARD STANKIEWICZ • DARYL TRIVIERI

PLATE 1

Eric Amouyal

Israeli, born 1962
Seeds: New York #2, 1998
acrylic on canvas
17 1/16x15 1/8 in.

28 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 2

Allan McCollum

American, born 1944

For Presentation and Display:
Ideal Setting by Louise Lawler and
Allan McCollum, 1984

black and white photographic print on .
Kodak paper

10x8 in.

FIFTY WORKS FOR FIFTY STATES • 29

PLATE 3

Richard Stankiewicz

American, 1922 - 1983
Untitled, n.d.

welded found metal objects, with rust
17 1/2x17 1/2x11 in.

t -

•'4

PLATE 4

Richard Tuttle

American, born 1941
Ball Drawing, 1969

graphite on paper
11 7/8x8 7/8 in.

FIFTY WORKS FOR FIFTY STATES • 31

ALASKA

University of Alaska Museum of the North

FAIRBANKS

ROBERT BARRY • ANN CHERNOW • CHARLES CLOUGH • JOEL FISHER • RICHARD FRANCISCO

DON HAZLITT • JENE HIGHSTEIN • STEWART HITCH • PATRICK IRELAND (BRIAN O'DOHERTY) • BILL JENSEN

STEPHEN KALTENBACH • STEVE KEISTER • ALAIN KIRILI • MARK KOSTABI • WENDY LEHMAN

MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA

JUDITH SHEA • LORI TASCHLER • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 5

Ann Chernow

American, born 1936

I Get Along Without You
Very Well, 1979

lithograph on paper
edition: 34/75

27 3/8 x 21 in.

32 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 6

Stewart Hitch

American, 1940-2002
Schenevus, 1982
oil on canvas
36 x 30 in.

FIFTY WORKS FOR FIFTY STATES • 33

HHF>&V C>iRTHOA>/+toeirJY MORE re HE/?G FRO^i B^jg^^fi *<v,o B*?>aN/f>#rR"J<;

P. i. "AiA«.i_

PLATE 7

Patrick Ireland (1972 - 2008)
aka Brian O'Doherty

American, born 1934

Untitled, 2002

dored ink with press type and graphite on paper
11 15/16X9 in.

34 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 8

Lori Taschler

American, born 1959

Untitled, 1984

oil on canvas with painted wood frame

14 x 14 in.

frame: 15 1/2 x 15 1/2 in.

FIFTY WORKS FOR FIFTY STATES • 35

ARIZONA

Phoenix Art Museum

PHOENIX

STEPHEN ANTONAKOS • RICHARD ANUSZKIEWICZ • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS
LOREN CALAWAY • MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH • RICHARD FRANCISCO
MICHAEL GOLDBERG • DON HAZLITT • JENE HIGHSTEIN • STEWART HITCH • MARTIN JOHNSON
STEVE KEISTER • MARK KOSTABI • CHERYL LAEMMLE • MICHAEL LUCERO • ROBERT MANGOLD
ANDY MANN • RICHARD NONAS • LUCIO POZZI • DAVID REED • EDDA RENOUF • EDWARD RENOUF
DARYL TRIVIERI • RICHARD TUTTLE • LAWRENCE WEINER

PLATE 9

Richard Anuszkiewicz

American, born 1930

Temple of Red with
Orange, 1983

acrylic on wood panel

I 31 x23in.

36 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 1 0

Richard Francisco

American, born 1942
Studio Garden, 1976

paint, balsa wood, canvas, glue, string
in a wood, glass-covered box

13x18 1/4x3 in.

FIFTY WORKS FOR FIFTY STATES • 37

PLATE 1 1

Andy Mann

American, 1949-2001
X Matrix, 1975
ink on paper

11 x 13 15/16 in.

38 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 12

Lawrence Weiner

American, born 1940
Paris^ 1963

gouache, ink, and graphite on torn
portion ofmanila envelope

6 1/4 x 5 1/4 in. (irregular)

FIFTY WORKS FOR FIFTY STATES • 39

ARKANSAS

The Arkansas Arts Center

LITTLE ROCK

WILLIAM ANASTASI • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • MICHAEL CLARK (CLARK FOX)
CHARLES CLOUGH • ROBERT DURAN • RICHARD FRANCISCO • CHARLES GAINES • MICHAEL GOLDBERG
JENE HIGHSTEIN • MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • CHERYL LAEMMLE
MICHAEL LUCERO • ROBERT MANGOLD • RICHARD NONAS • BETTY PARSONS • LUCIO POZZI
EDDA RENOUF • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 13

William Anastasi

American, born 1933
Subway Drawing, 1978
graphite on paper
9 1/16x12 1/4 in.

40

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 14

Robert Duran

American, born 1938
Untitled, 1970
watercolor on paper

8 7/8x11 1/2 in.

FIFTY WORKS FOR FIFTY STATES • 41

*t*»iiM4>4

■

PLATE 15

Charles Gaines

American, born 1944

Walnut Tree Orchard Set L, 1976

one black and white photograph, drymounted,
and two drawings in ink on paper

photo: 19 7/8x15 7/8 in.
photo mount: 21 7/8 x 18 in.
each drawing: 22 x 17 15/16 in.

42

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 16

Betty Parsons

American, 1900- 1982
Brush Up, 1974

paint on weathered wood construction

26 x 21 3/8 x 1 3/8 in.

FIFTY WORKS FOR FIFTY STATES • 43

CALIFORNIA

The Museum of Contemporary
Art, Los Angeles

LOS ANGELES

WILLIAM ANASTASI • CARL ANDRE • STEPHEN ANTONAKOS • ROBERT BARRY • LYNDA BENGLIS
CHARLES CLOUGH • RICHARD FRANCISCO • MICHAEL GOLDBERG • DAN GRAHAM • JOAN JONAS
STEVE KEISTER • MARK KOSTABI • MICHAEL LUCERO • RICHARD NONAS • NAM JUNE PAIK • LUCIO POZZI
EDDA RENOUF • ALAN SARET • DARYL TRIVIERI • RICHARD TUTTLE

p :

-i—

1

— I—

— i
i

UE

i

4*Vt«nn>

t

PLATE 17

Carl Andre

American, born 1935
Untitled, n.d.

ink (rubber stamp) on paper
8 1/2x8 9/16 in.

44

• THE DOROTHY AND HERBERT VOGEL COLLECTION

/

'

;

■--';
.

V »EHL-

.*,^

/

PLATE 18

Joan Jonas

American, born 1936

Dojj/Dccoy, L996

oil pastel on paper
16 3/8 x 11 1/8 in.

FIFTY WORKS FOR FIFTY STATES • 45

PLATE 19

Daryl Trivieri

American, born 1957

Portrait of Herb and Dorothy, 1988
acrylic on canvas
22 1/4x22 3/8 in.

46 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 20

Robert Marshall Watts

American, 1923- 1988

Untitled (Assorted Eggs from American
Supermarket), 1964

six chrome-plated and flocked eggs

each: 2 1/4x13/4 in.

FIFTY WORKS FOR FIFTY STATES •

47

COLORADO

Colorado Springs Fine Arts Center

COLORADO SPRINGS

WILL BARNET • ROBERT BARRY • LOREN CALAWAY • MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH
RICHARD FRANCISCO • ADAM FUSS • MICHAEL GOLDBERG • DON HAZLITT • JENE HIGHSTEIN
MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • CHERYL LAEMMLE • JILL LEVINE
MICHAEL LUCERO • SYLVIA PLIMACK MANGOLD • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF
DARYL TRIVIERI • RICHARD TUTTLE

PLATE 21

Michael Clark

American, born 1946
Dorothy, 1983-1985

construction, acrylic on wood,
mirror, with collage

13 1/4x13 1/4x2 in.

48 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 22

Adam Fuss

British, born 1961
Untitled, 1997

manipulated photograph
edition: 61/100

10x12 in.

FIFTY WORKS FOR FIFTY STATES • 49

PLATE 23

Don Hazlitt

American, born 1948

Sunset 1989

mixed media on board with painted frame

20 x 20 3/4 in.

50 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 24

Michael Lucero

American, born 1953

Untitled (Standing Figure
with Spotlights), 1979

wax crayon with incised lines on paper
31 x 22 1/8 in.

FIFTY WORKS FOR FIFTY STATES • 51

CONNECTICUT

Yale University Art Gallery

NEW HAVEN

WILL BARNET • ROBERT BARRY • LOREN CALAWAY • PETER CAMPUS • CHARLES CLOUGH • LOIS DODD
RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • MARTIN JOHNSON • STEVE KEISTER
MARK KOSTABI • CHERYL LAEMMLE • MICHAEL LUCERO • SYLVIA PLIMACK MANGOLD • RICHARD NONAS
NAM JUNE PAIK • LUCIO POZZI • EDDA RENOUF • EDWARD RENOUF • STEPHEN ROSENTHAL
LORI TASCHLER • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 25

Peter Campus

American, born 1937
Untitled, 1974

9 color Polaroids,
mounted and framed

mount: 11 x 10 1/2 in. (sight)
frame: 12x11 1/2 in.

52

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 26

Lois Dodd

American, born 1927
Butternut Branches, L988
oil on masonite

11 7/8x11 7/8 in.
frame: 12 7/16 x 12 3/8 in.

FIFTY WORKS FOR FIFTY STATES • 53

PLATE 27

Nam June Paik

American (born Korea), 1932 - 2006

Untitled, 1973

colored pencil on black paper

19x25 1/4 in.

54 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 28

Richard Tuttle

American, born 1941

Dorothy's Birthday Present 1991
graphite and watercolor on paper, framed

10 1/8 x 12 3/4 in.

FIFTY WORKS FOR FIFTY STATES • 5S

DELAWARE

Delaware Art Museum

WILMINGTON

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • LOREN CALAWAY
MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH • KATHLEEN COOKE • RICHARD FRANCISCO
DON HAZLITT • STEWART HITCH • TOM HOLLAND • MARTIN JOHNSON • RONNIE LANDFIELD
ROBERT MANGOLD • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • PAT STEIR • DONALD SULTAN
DARYL TRIVIERI • RICHARD TUTTLE • JOE ZUCKER

iiMiMttiiiiniiiiiiitiiiiiiini : :

^

PLATE 29

Kathleen Cooke

American (born Ireland), 1908 - 1978

Untitled, 1972

pastel and graphite on paper

11 x 14 in.

56 • THE DOROTHY AND HERBERT VOGEL COLLECT

ION

PLATE 30

Tom Holland

American, born 1936

Untitled #7, 1971

collage with staples and acrylic on paper

12 x 28 in.

FIFTY WORKS FOR FIFTY STATES

57

PLATE 31

Robert Mangold

American, born 1937
Violet/Black Zone Study, 1996

acrylic, charcoal, and graphite on
3 attached sheets of paper

overall: 30 1/4 x 66 7/8 in.

58 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 32

Joe Zucker

American, born 1 94 1
Candle, 1976

cotton, rhoplex, and acrylic on canvas
stretched over plywood
diameter: 18 3/4 in. (irregular)

FIFTY WORKS FOR FIFTY STATES •

59

FLORIDA

Miami Art Museum

MIAMI

WILL BARNET • ROBERT BARRY • MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH • JOEL FISHER
RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • JENE HIGHSTEIN • RALPH HUMPHREY
MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • CHERYL LAEMMLE • MICHAEL LUCERO
SYLVIA PLIMACK MANGOLD • ANDY MANN • WILLIAM MOREHOUSE • RICHARD NONAS • LUCIO POZZI
EDDA RENOUF • EDWARD RENOUF • ROBERT STANLEY • DONALD SULTAN • DARYL TRIVIERI
RICHARD TUTTLE

PLATE 33

Joel Fisher

American, born 1947
Untitled, 1992

painted plaster with surface
abrasions and incisions

3 7/8x2 3/4 x 3 in.

60 • THE DOROTHY AND HERBERT VOGEL COLLECTIOI

PLATE 34

William Morehouse

American, 1929- 1993
Untitled, 1981
pastel on black paper
22 1/8x30 in.

FIFTY WORKS FOR FIFTY STATES • 61

PLATE 35

Robert Stanley

American, 1932 - 1997
Crackerjack, 1971

screenprint on paper
artist's proof

14 x 17 15/16 in.

62

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 36

Donald Sultan

American, horn 1951
Pomegra nates^ 1 990
graphite and charcoal on paper
39 1/8x29 3/8 in.

FIFTY WORKS FOR FIFTY STATES • 63

GEORGIA

The High Museum of Art

ATLANTA

WILLIAM ANASTASI • STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS
LOREN CALAWAY • MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH • RICHARD FRANCISCO
MICHAEL GOLDBERG • RODNEY ALAN GREENBLAT • JENE HIGHSTEIN • STEWART HITCH • WILL INSLEY
STEVE KEISTER • RONNIE LANDFIELD • LUCIO POZZI • EDDA RENOUF • ALAN SARET • DARYL TRIVIERI
RICHARD TUTTLE • URSULA VON RYDINGSVARD • THORNTON WILLIS • BETTY WOODMAN

PLATE 37

Will Insley

American, born 1929

Untitled, 1964

acrylic on masonite

17 5/8x173/4x1 3/4 in. (irregular)

64 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 38

Richard Turtle

American, born 1941

Two Black Dots with a Space
In Between, 1973

ink and graphite on paper

13 7/8x11 in.

FIFTY WORKS FOR FIFTY STATES • 65

PLATE 39

Ursula von Rydingsvard

American (born Germany), born 1942
Light Drawing 2/7/81 12 Noon, 1981
charcoal on paper
29 x 23 in.

66 • THE DOROTHY AND HERBERT VOGEL COLLECT

ION

PLATE 40

Betty Woodman

American, born 1930
Garden Corner, 1999

clay, wax, dye and crayon on
Thai Mulberry paper

36 3/4x25 1/8 in.

FIFTY WORKS FOR FIFTY STATES • 67

HAWAII

Honolulu Academy of Arts

HONOLULU

ROBERT BARRY • CHARLES CLOUGH • CLAUDIA DE MONTE • RICHARD FRANCISCO • DON HAZLITT
JENE HIGHSTEIN • BILL JENSEN • JOAN JONAS • STEVE KEISTER • ALAIN KIRILI • MARK KOSTABI
WENDY LEHMAN • MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • JOEL PERLMAN
LUCIO POZZI • DAVID REED • EDDA RENOUF • JUDY RIFKA • BARBARA SCHWARTZ • LORI TASCHLER
DARYL TRIVIERI • RICHARD TUTTLE • RUTH VOLLMER

PLATE 41

Bill Jensen

American, born 1945
Untitled, 1986

colored pencil, ink and
white-out on paper

9 1/16x6 1/8 in.

68

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 42

Joel Perlman

American, born L943
Untitled, L995

cast bronze, silver

nitrate patina

12x6 1/2x4 in.

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PLATE 43

David Reed

American, born 1946

Working Drawing for #508, 2004

graphite and ink on graph paper

11 x 17 in.

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70 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 44

Judy Rifka

American, born 1945
Untitled, 1974
acrylic on plywood

48 x48 in.

FIFTY WORKS FOR FIFTY STATES •

71

IDAHO

Boise Art Museum

BOISE

WILL BARNET • ROBERT BARRY • LOREN CALAWAY • CHARLES CLOUGH • R.M. FISCHER

RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • JENE HIGHSTEIN • BRYAN HUNT

MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • RONNIE LANDFIELD • ROY LICHTENSTEIN

MICHAEL LUCERO • FORREST MYERS • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • EDWARD RENOUF

STEPHEN ROSENTHAL • CHRISTY RUPP • PAT STEIR • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 45

R.M. Fischer

American, born 1947
Doctor's Lamp, 1979

steel, flexible metal tubing, light
bulbs, sockets and wiring

76 x 20 in. (variable)

72

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 46

Ronnie Landfield

American, born 1947
Untitled, 1998
acrylic on paper
29 15/16x22 1/16 in.

FIFTY WORKS FOR FIFTY STATES • 73

PLATE 47

Roy Lichtenstein

American, 1923 - 1997

Turkey Shopping Bag 1964

screenprint on white paper
shopping bag

23 1/2x17 1/16 in. (including handles)

74

• THE DOROTHY AND HERBERT VOGEL COLLECTION

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PLATE 48

Pat Steir

American, born 1940

Little Paynes Gray
Brushstroke on a Paynes
Gray Background, 2000

oil on canvas

23 1/8 x 23 1/4 in.

FIFTY WORKS FOR FIFTY STATES •

75

ILLINOIS

University Museum, Southern
Illinois University

CARBON DALE

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LOREN CALAWAY • CHARLES CLOUGH

PEGGY CYPHERS • WILLIAM FARES • RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT

JENE HIGHSTEIN • BRYAN HUNT • MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • CHERYL LAEMMLE

RONNIE LANDFIELD • MICHAEL LUCERO • FORREST MYERS • RICHARD NONAS • LUCIO POZZI

EDDA RENOUF • EDWARD RENOUF • ALAN SARET • LORI TASCHLER • DARYL TRIVIERI • RICHARD TUTTLE

THORNTON WILLIS

PLATE 49

Stephen Antonakos

American, born 1926

Five Incomplete Circles, 1976

colored pencil on paper

29 15/16x22 5/16 in.

76

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 50

William Fares

American, born 1942
Untitled, \977
ink on altered paper
11 x 11 in.

FIFTY WORKS FOR FIFTY STATES • 77

PLATE 51

Cheryl Laemmle

American, born 1947
Specters in the Forest, 1988
oil on canvas

30 1/4x40 1/8 in.

78

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 52

Thornton Willis

American, born 1936
The Tall Patriot 1981
oil stick on paper
30x22 1/4 in.

FIFTY WORKS FOR FIFTY STATES • 79

INDIANA

IMA-Indianapolis Museum of Art

INDIANAPOLIS

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • JAMES BISHOP
LOREN CALAWAY • MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH • RICHARD FRANCISCO
JON GIBSON • MICHAEL GOLDBERG • DON HAZLITT • STEWART HITCH • STEVE KEISTER
RONNIE LANDFIELD • ROBERT MANGOLD • ELIZABETH MURRAY • LUCIO POZZI • DAVID RABINOWITCH
EDDA RENOUF • JUDY RIFKA • DARYL TRIVIERI • RICHARD TUTTLE

"50's"

For any number of performers.

:h performer has two pitches, tincres, cnorda, or
sonorities.

Percussion I sh aa dr ibals, wood

blocks, and written- that is,

rhythmically, or, at times, the fir;*. - :ote of

a tied ;. (tne notes with the X over ay be played.

Sustained instr : organs and winds, also

play as written, or play the notes in a particular tied group-
ing as one note. For instance, in section (f)tne grouping? can
be played a; -notes (d- ) instead of six separate

ith-notes ({jjjxi) . Also, wl1 :"-ruments, e- .

::.ord rather than Just one Ditch, and sore
than one performer can play at one keyboard. If i.-.ords are
used, the notes for the chords should be chosen with descre-
tion. Octaves, Perfect Fifths, and Fourths s.iould predominate.
Dissonant relati irritating to the ears very

quickly In tnis piece so that a generally sonorous, consonant
sound, utilizing vol a particular scale or ton-

: , is recommended. Here is one Lned low

Keyboard part. Tnese notes car. be repeated in other relation-
's in a higher part by another perfor:;.er on the same key-
board.

All performers start at (T) (not necessarily at once) a
repeat It until t r' © • (P > etc> successively

e. Sec everyone at

once. One Derf or :.er car. still be on(T)whlle other performers
are on (t) , (j) , (J) , (6) , and even (|c) . However , it is necessary
to remal ier In the sense Chat everyone plays the Is

two teats (the sixteenth-note figure) at the same time at all

:. As the piece progresses rssible to skip sec-

tions or ivlous sections and repla

eneral, the various Juxtopoaitlons
should be repeated enou,~ to be reasonably he

appreciated. Procee ieisurly pace, taking your time with

each section. The piece can last for any lengtn of time from
twenty minutes to an hour^or so- maybe longer. V.'nen all the
performers have reached (53)and repeated it to their satisfac-
tion, tne piece T " tly (on cue) at the thirty-
second beat of the cycle (the sixteenth-note figure). Explore

f performing the piece.

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PLATE 53

Jon Gibson

American, born 1940
30's, 1970-72

one of five sheets and three
photocopies: ink and graphite on
graph paper; collage of ink on
musical staff paper, and tape on
bond paper with typescript

each sheet: 8 1/2x11 in.

80

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PU\TE 54

Lucio Pozzi

American, born 1935
Famiglia, 1996
watercolor on paper
24x23 1/16 in.

FIFTY WORKS FOR FIFTY STATES • 81

PLATE 55

David Rabinowitch

Canadian, born 1943

Linear Mass in 3 Scales J, 1972

Steel

3/4x52 1/4x4 in.

82 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 56

Edda Renouf

American, horn 1943
Wing Piece II, 1980

acrylic on linen
39 1/2x39 1/2 in.

FIFTY WORKS FOR FIFTY STATES

82

IOWA

Cedar Rapids Museum of Art

CEDAR RAPIDS

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • JOSEPH BEUYS • LOREN CALAWAY
CHARLES CLOUGH • PEGGY CYPHERS • RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT
PETER HUTCHINSON • MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • RONNIE LANDFIELD
ANNETTE LEMIEUX • MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI
EDDA RENOUF • EDWARD RENOUF • KEITH SONNIER • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 57

Will Barnet

American, born 191 1

Study for the Voxels (Herb with
hands on chin), 1977

graphite and charcoal on vellum
tracing paper

29 15/16x42 in. (irregular)

84

• THE DOROTHY AND HERBERT VOGEL COLLECTION

BLACKBOARDS
CORK BULLETIN

FOR

NOISELESS BUCKB4

ERASEI

^°*K BIAC^BOAR^ IN(

139 SPRING STREET, NEW YORK, N. Y.
Telephone; 96M>555

BLACKBOARDS

CORK BULLETIN

BOARDS

CABINET BULLETIN

BOARDS / •

OAK AND ALUMINUM

FRAMING

ACCESSORIES

- MUlWI ILUTHI MM-
A/»W*im fetACkBOARD, INC I

PLATE 58

Joseph Beuys

German, 1921 - 1986

Noiseless Blackboard Eraser, 1974

felt blackboard eraser (two), each with printed
and stamped paper label, with marker

each: 2x5x1 in.

FIFTY WORKS FOR FIFTY STATES • 85

PLATE 59

Annette Lemieux

American, born 1957

Popular Wall Painting
(after Ken), 1997

tempera, with graphite, on graph paper

sheet: 8 1/2x10 15/16 in.

86

• THE DOROTHY AND HERBERT VOGEL COLLECTION

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PLATE 60

Keith Sonnier

American, bom 1941
BA-O-BA III 1976

marker on graph paper
10 5/8x8 1/2 in.

FIFTY WORKS FOR FIFTY STATES • 87

KANSAS

Spencer Museum of Art, The University
of Kansas

LAWRENCE

WILL BARNET • ROBERT BARRY • LOREN CALAWAY • CHARLES CLOUGH • GENE DAVIS

RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • JENE HIGHSTEIN • PETER HUTCHINSON

MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • MICHAEL LUCERO • JOSEPH NECHVATAL

RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • EDWARD RENOUF • PETER SCHUYFF

BARBARA SCHWARTZ • DARYL TRIVIERI • RICHARD TUTTLE • JOSEPH WHITE

PLATE 61

Gene Davis

American, 1920- 1985

Untitled, 1970

acrylic on canvas, framed

10x12 1/8 in.

framed: 10 3/4 x 12 3/4 in.

88

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 62

Steve Keister

American, born 1949
Untitled, 1990

painted masonite, wood, and string
8 x 10 x 7 in. (not including string; variable)

FIFTY WORKS FOR FIFTY STATES • 89

PLATE 63

Daryl Trivieri

American , born 1957

The Elements of Drawing, 1990

airbrush and inkwash on paper

22 1/4x30 1/8 in.

90 • THE DOROTHY AND HERBERT VOGEL COLLECTIOI

PLATE 64

Joseph White

American, born 1938
Untitled, n.d.
graphite on paper
8 1/2x8 1/2 in.

FIFTY WORKS FOR FIFTY STATES • 91

KENTUCKY

The Speed Art Museum

LOUISVILLE

WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • LOREN CALAWAY • MICHAEL CLARK (CLARK FOX)
CHARLES CLOUGH • CLAUDIA DE MONTE • RICHARD FRANCISCO • MICHAEL GOLDBERG • RONALD GORCHOV
PETER HALLEY • JENE HIGHSTEIN • STEWART HITCH • BRYAN HUNT • MARTIN JOHNSON • STEVE KEISTER
ROBERT MANGOLD • RICHARD NONAS • EDDA RENOUF • PAT STEIR • DARYL TRIVIERI • RICHARD TUTTLE
URSULA VON RYDINGSVARD • MARTIN WONG

PLATE 65

Lynda Benglis

American, born 1941
Gestural Study, 2005
egg tempera on paper
22 1/2x15 1/8 in. (irregular)

92 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 66

Bryan Hunt

American, born 1947
Quarry Study, 1979

ink on paper

6 5/16 x 9 in. (approx.)

FIFTY WORKS FOR FIFTY STATES • 93

PLATE 67

Pat Steir

American, born 1940

Red Cascade, 1996-97

oil on canvas
30 1/8x30 1/8 in.

94 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 68

Martin Wong

American, 1946 - 1999
Untitled, n.d.

oil on canvas, diptych

overall: 7 1/8 x 18 1/4 in.;
each: 7 1/8x9 1/8 in.

FIFTY WORKS FOR FIFTY STATES • 95

LOUISIANA

New Orleans Museum of Art

NEW ORLEANS

WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • JAMES BISHOP • LISA BRADLEY • CHARLES CLOUGH
PINCHAS COHEN GAN • RICHARD FRANCISCO • MICHAEL GOLDBERG • JENE HIGHSTEIN • STEWART HITCH
BILL JENSEN • MARK KOSTABI • CHERYL LAEMMLE • RONNIE LANDFIELD • JOHN LATHAM • MICHAEL LUCERO
RICHARD NONAS • LIL PICARD • LUCIO POZZI • EDDA RENOUF • EDWARD RENOUF • BARBARA SCHWARTZ
DARYL TRIVIERI * RICHARD TUTTLE

PLATE 69

John Latham

British, 1921-2006

One Second
Drawing, 1971

enamel on wood panel
8 1/8x7 5/8 in.

96 • THE DOROTHY AND HERBERT VOGEL COLLECTION

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PLATE 70

American, born 1953
Untitled (Head Study), 1982
glazed ceramic with incised line
16 1/2x11 3/4x8 3/4 in.

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PLATE 71

Lil Picard

German, 1899- 1994

The Voxel's Napkinian Fantasy, 1976

collage of paper and cloth napkins,
linen placemat, photos, ink, and plastic
push-pins in painted wood and plexiglas box

16 3/4x21 3/4 in.

98 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 72

Richard Tuttle

American, born 1941
Chicago 14, No. I 1982

watercolor on lined notebook paper in wood
frame

9 5/8x 14 1/8x1 5/8 in.

FIFTY WORKS FOR FIFTY STATES • 99

MAINE

Portland Museum of Art

PORTLAND

WILL BARNET • ROBERT BARRY • LISA BRADLEY • CHARLES CLOUGH • CLAUDIA DE MONTE
RACKSTRAW DOWNES • RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT
PETER HUTCHINSON • MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • RONNIE LANDFIELD
MICHAEL LUCERO • ANTONI MIRALDA • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI
EDDA RENOUF • JUDY RIFKA • BARBARA SCHWARTZ • LORI TASCHLER • DARYL TRIVIERI
RICHARD TUTTLE • TOD WIZON

PLATE 73

Charles Clough

American, born 1951
August Fifteenth, 1985
enamel on panel, framed

23 7/8 x 25 3/8 in.

frame: 24 7/8x26 1/4 in.

100

• THE DOROTHY AND HERBERT VOGEL COLLECTION

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PLATE 74

Rackstraw Downes

British, born 1939

Disused Weather Station,
Galveston, TX, 1997

graphite on two attached sheets of
gray charcoal paper

7 1/4 x 16 3/4 in.

FIFTY WORKS FOR FIFTY STATES • 101

PLATE 75

Antoni Miralda

Spanish, born 1942
Untitled, 1972

bread, colored and baked, mounted on mat
board, on wood inside plexiglas case

case: 3 3/4x12 1/4x12 1/4 in.

102

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 76

Tod Wizon

American, born 1952
Untitled, 1979
graphite on paper
5x3 7/16 in.

FIFTY WORKS FOR FIFTY STATES • 103

MARYLAND

Academy Art Museum

EASTON

STEPHEN ANTONAKOS • ROBERT BARRY • LISA BRADLEY • ANDRE CADERE • CHARLES CLOUGH
CLAUDIA DE MONTE • RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • PETER HUTCHINSON
MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • MOSHE KUPFERMAN • CHERYL LAEMMLE
MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA
BARBARA SCHWARTZ • LORNA SIMPSON • LORI TASCHLER • JOHN TORREANO • DARYL TRIVIERI
RICHARD TUTTLE

PLATE 78

Moshe Kupferman

Israeli (born Poland), 1926 - 2003
Untitled, 1994

acrylic, graphite and charcoal on paper
19 3/4x26 in.

FIFTY WORKS FOR FIFTY STATES • 105

PLATE 79

Lorna Simpson

American, born 1960

III (Peter Norton Family
Christmas Project), 1994

ceramic, rubber, and bronze wishbones
with felt (printed and fitted) in wood box

box: 13 5/8x5 3/8x2 1/8 in.

each wishbone: 4 1/4x2 1/2 x 5/8 in. (approx.)

106 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 80

John Torreano

American, born 1941
Untitled, 1977

acrylic modeling paste, oil, and faceted
plastic on canvas

16 1/4 x 16 1/4x2 in.

FIFTY WORKS FOR FIFTY STATES • 107

MASSACHUSETTS

Harvard University Art Museums

CAMBRIDGE

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • JAMES BISHOP
RONALD BLADEN • CHARLES CLOUGH • RACKSTRAW DOWNES • BENNI EFRAT • RICHARD FRANCISCO
MICHAEL GOLDBERG • DAN GRAHAM • STEVE KEISTER • MICHAEL LUCERO • ROBERT MANGOLD
RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • DAVID SALLE • PAT STEIR
DARYL TRIVIERI • RICHARD TUTTLE

PLATE 81

James Bishop

American, born 1927
Untitled, 1972
oil and crayon on paper
22 x 22 in.

108 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 82

Benni Efrat

Israeli, born 1938
From Ex to X, 1969/70
ink on graph paper

21 15/16x29 7/8 in.

FIFTY WORKS FOR FIFTY STATES • 109

PLATE 83

Michael Goldberg

American, 1924 - 2007
Tarascon, 1959
oil on canvas
52 x 47 3/4 in.

110 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 84

David Salle

American, born 1952

Untitled, 1995

ink. and Xerography (?) on paper
3 15/16x3 15/16 in.

FIFTY WORKS FOR FIFTY STATES • 111

MICHIGAN

The University of Michigan Museum of Art

ANN ARBOR

WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • CLAUDIA DE MONTE
RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • JENE HIGHSTEIN • PETER HUTCHINSON
MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • RONNIE LANDFIELD • JILL LEVINE • ROBERT LOBE
MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF
YINKA SHONIBARE • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 85

Lynda Benglis

American, born 1941

Tacpere Maptom, 1985

glass

22x5 1/2 (diam.) in.

112 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 86

Martin Johnson

American, born 1951
Inure Self, 1984
acrylic and thread on canvas
10x8 in.

FIFTY WORKS FOR FIFTY STATES • 113

PLATE 87

Mark Kostabi

American, born 1960
Progress of Beauty 3, 1988
ink on paper
11 15/16x9 in.

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114 • THE DOROTHY AND HERBERT VOGEL COLLECTIOI

PLATE 88

Yinka Shonibare

British, born 1962

Doll House (Peter
Norton Family
Christmas Project),
2002

miniature English
Victorian townhouse, with
furnishings; in cast resin,
plastic, wood, paper and
fabric

house: 12 3/4x8x 10 5/8 in.

MINNESOTA

Frederick R. Weisman Art Museum,
University of Minnesota

MINNEAPOLIS

WILL BARNET • ROBERT BARRY • LISA BRADLEY • CHARLES CLOUGH • CLAUDIA DE MONTE

RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • JENE HIGHSTEIN • PETER HUTCHINSON

MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • RONNIE LANDFIELD • MICHAEL LASH

MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA

BARBARA SCHWARTZ • ALAN SHIELDS • GARY STEPHAN • LORI TASCHLER • DARYL TRIVIERI

RICHARD TUTTLE

PLATE 89

Claudia de Monte

American, born 1947
Claudia with Snake, 1980

handmade paper (paper mache;
celluclay), acrylic and glitter

13 5/8x8 1/2x1 1/2 in. (irregular)

116 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 90

Michael Lash

American, born 1961

Simon's a Sissy, 1988

ball point pen and crayon on mat board

8 3/4x11 in. (irregular)

FIFTY WORKS FOR FIFTY STATES • 117

PLATE 91

Alan Shields

American, 1944-2005
Untitled, 1972

painted and stitched canvas over
plywood and twine base

19 1/4x18x21 1/4 in.

ml

118 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 92

Gary Stephan

American, born 1942

Untitled, 1969

pigment and polyvinyl chloride
with crayon on verso

25 x 52 1/4 in. (irregular)

FIFTY WORKS FOR FIFTY STATES • 119

MISSISSIPPI

Mississippi Museum of Art

JACKSON

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LISA BRADLEY • CHARLES CLOUGH
CLAUDIA DE MONTE • RICHARD FRANCISCO • MICHAEL GOLDBERG • RONALD GORCHOV • DON HAZLITT
JENE HIGHSTEIN • PETER HUTCHINSON • MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI
RONNIE LANDFIELD • MICHAEL LASH • MICHAEL LUCERO • TAKASHI MURAKAMI • JOSEPH NECHVATAL
RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • CINDY SHERMAN • DARYL TRIVIERI • RICHARD TUTTLE
LYNN UMLAUF

PLATE 93

Ronald Gorchov

American , born 1930
Untitled, 1973
oil on muslin stapled to wood
18 7/8 x 13 x 1 5/8 in.

120

THE DOROTHY AND HERBERT VOGEL COLLECTION

I

■

■

I

PLATE 95

Cindy Sherman

American, born 1954
Untitled, 1975/97
black and white photograph
10x8 in.

122

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 96

Lynn Umlauf

American, born 1942

Untitled, 1979

pastel on mat board mounted on board

board: 25 x 16 1/2 in. (irregular)
mount: 28 x 22 in.

FIFTY WORKS FOR FIFTY STATES • 123

MISSOURI

Saint Louis Art Museum

ST. LOUIS

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LISA BRADLEY • CHARLES CLOUGH

CLAUDIA DE MONTE • RICHARD FRANCISCO • DAN GRAHAM • WILLIAM L. HANEY • JENE HIGHSTEIN

PETER HUTCHINSON • MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • MICHAEL LASH

MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA

BARBARA SCHWARTZ • HAP TIVEY • DARYL TRIVIERI • RICHARD TUTTLE • LEO VALLEDOR • RUTH VOLLMER

PLATE 97

Lisa Bradley

American, born 1951
Inside Out, n.d.

oil on canvas

40x36 in.

124

• THE DOROTHY AND HERBERT VOGEL COLLECTION

Z> £/•

-

PLATE 98

Dan Graham

American, born 1942

For Laumier Sculpture
Park, St. Louis, 1985

graphite and ink on paper

17 x 14 in.

FIFTY WORKS FOR FIFTY STATES •

125

PLATE 99

Hap Tivey

American, born 1947
Mivajje #4, 1978

aluminum and copper on wood
panel beneath stretched latex

24 3/4x15 7/8x2 5/8 in.

126 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 100

Leo Valledor

American, 1936 - 1989
Untitled, 1965

graphite and crayon on paper
22 1/16x30 in.

FIFTY WORKS FOR FIFTY STATES • 127

MONTANA

Yellowstone Art Museum

BILLINGS

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • CHARLES CLOUGH • PINCHAS COHEN GAN
CLAUDIA DE MONTE • RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • NEIL JENNEY
MARTIN JOHNSON • STEPHEN KALTENBACH • STEVE KEISTER • MARK KOSTABI • WENDY LEHMAN
MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF
DARYL TRIVIERI • RICHARD TUTTLE • RUTH VOLLMER

_____ _

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PLATE 101

Robert Barry

American, born 1936
Untitled, 1984

acrylic and gilt paint on canvas
18 x 18 in.

128

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 102

Pinchas Cohen Gan

American, born 1942
Figurative Circuit Nl, 1975-76
graphite, marker, oil, gouache on paper

21 5/8x26 11/16 in.

FIFTY WORKS FOR FIFTY STATES • 129

s><3*£ £jjms<- yU#J^ ~U<JL /iSLoviJiThAS xt^^v :

AAA

PLATE 103

Stephen Kaltenbach

American, born 1940

God gave Noah the rainbow sign: No
More Water, The Fire Next Time, 1968

graphite and marker on paper

17 7/8 x 23 7/8 in.

130

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 104

Ruth Vollmer

American, 1903 - 1982

Pentagon, 1974

colored pencil and graphite on tracing paper

14x 11 in.

FIFTY WORKS FOR FIFTY STATES • 131

NEBRASKA

Joslyn Art Museum

OMAHA

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH
CLAUDIA DE MONTE • RICHARD FRANCISCO • DON HAZLITT • JENE HIGHSTEIN • PETER HUTCHINSON
MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • MICHAEL LASH • MICHAEL LUCERO
JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • HANS J_RGEN [H.A.] SCHULT
DARYL TRIVIERI • RICHARD TUTTLE • RICHARD VAN BUREN

PLATE 105

Jene Highstein

American, born 1942
Untitled, 1997

opaque watercolor (bone black
pigment) and graphite on two
attached sheets of graph paper,
with graph paper collage

33 13/16x21 7/8 in.

132 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 106

Jene Highstein

American, born 1CH2

Aluminum Casting
of Room with One
Door, 1997

cast aluminum | edition: A.P|

7x6 (diam.) in.

FIFTY WORKS FOR FIFTY STATES •

13c

PLATE 107

Hans Jiirgen [H.A.] Schult

German, born 1939

Untitled, 1985

screenprint with glitter on poster board

46 3/8x30 13/16 in.

134 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 108

Richard Van Buren

American, born 1937
Untitled, 1971-1972
polyester resin with fiberglass
23 3/4 x 16x2 3/8 in.

NEVADA

Las Vegas Art Museum

LAS VEGAS

STEPHEN ANTONAKOS • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • CLAUDIA DE MONTE
RICHARD FRANCISCO • DON HAZLITT • NEIL JENNEY • MARTIN JOHNSON • STEVE KEISTER
MARK KOSTABI • WENDY LEHMAN • MICHAEL LUCERO • JOSEPH NECHVATAL • LUCIO POZZI
EDDA RENOUF • EDWARD RENOUF • F. (FRANK) L. SCHRODER • DARYL TRIVIERI • RICHARD TUTTLE
BETTINA WERNER • LARRY ZOX

■nnss

PLATE 109

Edward Renouf

American, 1906 - 1999
Untitled, 1973
oil on masonite (two panels)
each: 15 x 10 in.

136 • THE DOROTHY AND HERBERT VOGEL COLLECTION

— - £ I — J_

"fitUWMtTK PILOT" ft SCtf&rO?*- 13

PLATE 110

F. (Frank) L. Schroder

American, born 1950

Automatic Pilot 1979

ink, marker, and graphite on graph paper

8 1/2x 10 15/16 in.

FIFTY WORKS FOR FIFTY STATES • 137

PLATE 1 1 1

Bettina Werner

Italian, born 1965

Campi neri di pensiero

(Black Fields of Thought), 1991

salt, resin and pigment on
plastic panels (triptych)

overall: 27 3/4 x 10 1/8 in.
each: 10 1/8x8 1/8 in.

138

THE DOROTHY AND HERBERT VOGEL COLLECTION

r & 7

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PLATE 112

Larry Zox

American, 1937-2006

Scissors Jack Series, 1965
black ink, gouache on graph paper
sheet: 11 1/16 x 13 15/16 in.

FIFTY WORKS FOR FIFTY STATES • 139

NEW HAMPSHIRE

Hood Museum of Art, Dartmouth College

HANOVER

STEPHEN ANTONAKOS • ROBERT BARRY • LYNDA BENGLIS • JOHN CLEM CLARKE • CHARLES CLOUGH
CLAUDIA DE MONTE • RICHARD FRANCISCO • DON HAZLITT • JENE HIGHSTEIN • BILL JENSEN
MARTIN JOHNSON • STEVE KEISTER • MARK KOSTABI • WENDY LEHMAN • MICHAEL LUCERO
JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • DAVID SAWIN
MICHELLE STUART • DARYL TRIVIERI • RICHARD TUTTLE • RUTH VOLLMER

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111

Hill.

PLATE 113

Robert Barry

American, born 1936
Silver Collage, 1968
metallic strips affixed to board
7 1/2 x 12 1/8 in.

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nil

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140 • THE DOROTHY AND HERBERT VOGEL COLLECTIO!

PLATE 114

John Clem Clarke

American, born l1)^-
Untitlcd. 1965

acrylic and screenprint
on canvas

55 x 30 3/4 in.

FIFTY WORKS FOR FIFTY STATES

141

PLATE 115

David Sawin

American, born 1922
Formal Structure, 1953
oil on canvas
14x18in.

142

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 116

Michelle Stuart

American, horn 1938

July, New
Hampshire, 1974

microfine graphite
(rubbed), silver paint,
with indentations
(pounded with rock) on
heavyweight canvas paper

9 13/16x6 1/2 in.

FIFTY WORKS FOR FIFTY STATES •

14;

NEW JERSEY

Montclair Art Museum

MONTCLAIR

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • RONALD BLADEN
MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH • STUART DIAMOND • RICHARD FRANCISCO
DON HAZLITT • BRYAN HUNT • BILL JENSEN • MARTIN JOHNSON • ALAIN KIRILI • CHERYL LAEMMLE
MICHAEL LUCERO • RICHARD NONAS • LARRY POONS • LUCIO POZZI • EDDA RENOUF • RODNEY RIPPS
ALAN SARET • BARBARA SCHWARTZ • JUDITH SHEA • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 1 1 7

Ronald Bladen

American (born Canada), 1918 - 1988

Five Studies: 'Black Tower'' and four
unknown sculptures, 1984-85

graphite on paper

22 1/8x42 3/8 in.

144

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 118

Stuart Diamond

American, born 1942
Untitled, 1997

collage of various papers, with acrylic,
ink, and tape on paper

sheet: 21 7/8 x 17 in. (approx.)

FIFTY WORKS FOR FIFTY STATES • 145

PLATE 119

Rodney Ripps

American, born 1950
Galaxy \ 1978

oil paint and wax medium on
cloth on wood

13 x 31 1/4x7 in. (irregular)

146 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 120

Alan Saret

American, born 1944

Untitled, 1967

colored pencil and graphite on verso of graph paper

10 15/16x22 in.

FIFTY WORKS FOR FIFTY STATES • 147

NEW MEXICO

New Mexico Museum of Art,
Museum of New Mexico

SANTA FE

ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • R.M. FISCHER • RICHARD FRANCISCO
DON HAZLITT • JENE HIGHSTEIN • NEIL JENNEY • BILL JENSEN • JOAN JONAS • STEVE KEISTER
ALAIN KIRILI • MARK KOSTABI • WENDY LEHMAN • MICHAEL LUCERO • JOSEPH NECHVATAL
RICHARD NONAS • KATHERINE PORTER • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA
BARBARA SCHWARTZ • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 121

Neil Jenney

American, born 1945

Herb Vogel Thinking, 1999

Xerox collage and graphite on
mat board

47 1/8x36 1/8 in.

148

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 122

Katherine Porter

American, born 1941
Untitled, 1974

graphite, colored pencil, and glue, with incised
and scraped lines, on paperboard

12x18 in.

FIFTY WORKS FOR FIFTY STATES • 149

PLATE 123

Lucio Pozzi

American, born 1935

Nude, 1980

acrylic on canvas mounted on wood,
with collage (photograph on board,
nails, plastic)

25 1/8x24x1 1/4 in.

150

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 124

Richard Tuttle

American, born 1941
Rome Drawing #63, 1974

black felt tip pen on lined notebook
paper, framed

11 9/16x9 1/8 in.

FIFTY WORKS FOR FIFTY STATES • 151

NEW YORK

Albright-Knox Art Gallery

BUFFALO

RICHARD ARTSCHWAGER • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • KOKI DOKTORI
R.M. FISCHER • RICHARD FRANCISCO • DON HAZLITT • JENE HIGHSTEIN • BILL JENSEN • TOBI KAHN
STEVE KEISTER • ALAIN KIRILI • MARK KOSTABI • WENDY LEHMAN • MICHAEL LUCERO
JOSEPH NECHVATAL • RICHARD NONAS • LARRY POONS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA
BARBARA SCHWARTZ • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 125

Richard Artschwager

American, born 1923
Thousand Cubic Inches Prototype, 1996
wood with metal hardware [edition: XXV/XL]
12 1/2x15 15/16x5 in.

152

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 126

Koki Doktori

Israeli (?), 1941

On the Run, 1983

oil stick and graphite on paper

22 3/8x30 1/16 in.

FIFTY WORKS FOR FIFTY STATES •

15

PLATE 127

Larry Poons

American, born 1937
Untitled, 1967

graphite on graph paper
16 15/16 x21 15/16 in.

154 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 128

Edda Renouf

American, born 1943
August- Week 2, 2000

oil pastel with ink, graphite and
incised lines on paper

19 x 15 in.

FIFTY WORKS FOR FIFTY STATES • 155

NORTH CAROLINA

Weatherspoon Art Gallery, The University
of North Carolina at Greensboro

GREENSBORO

STEPHEN ANTONAKOS • ROBERT BARRY • LYNDA BENGLIS • MCWILLIE CHAMBERS • CHARLES CLOUGH
RICHARD FRANCISCO • DON HAZLITT • JENE HIGHSTEIN • RALPH IWAMOTO • BILL JENSEN
STEPHEN KALTENBACH • STEVE KEISTER • ALAIN KIRILI • MICHAEL LUCERO • JOSEPH NECHVATAL
RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • ALEXIS ROCKMAN • LORI TASCHLER
DARYL TRIVIERI • RICHARD TUTTLE • MARIO YRISSARY

PLATE 129

McWillie Chambers

American, born 1951

Untitled woodcuts, n.d., and
S.V. Elissa with Sun, 2000

paper folder, housing eight
woodcuts (4 variations of two
images i of various colors, edition
sizes and papers

sheets: six at 6 x 8 13/16 in.;

four at 8 7/8 x 12 in.;

one at 8 1/2 x 12 1/4 in.

folder dimensions (closed); 13x9 3/8 in.

156

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 130

Ralph Iwamoto

American, born 1927
Study Steps #3, 1977
acrylic on canvas

9 1/2x14 1/2 in.
frame: 10 x 15 in.

FIFTY WORKS FOR FIFTY STATES • 157

PLATE 131

Alexis Rockman

American, born 1962
Untitled, 1996

watercolor and silver
spray paint on board

4 1/2x6 1/4 in.

158

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 132

Mario Yrissary

American, born 1933

Untitled, 1973

crayon, colored pencil, and watercolor on paper

19 7/16x19 1/8 in.

FIFTY WORKS FOR FIFTY STATES • 159

NORTH DAKOTA

Plains Art Museum

FARGO

ROBERT BARRY • CHARLES CLOUGH • RICHARD FRANCISCO • DON HAZLITT • JENE HIGHSTEIN
PETER HUTCHINSON • BILL JENSEN • STEVE KEISTER • ALAIN KIRILI • MARK KOSTABI • JILL LEVINE
ROBERT LOBE • MICHAEL LUCERO • JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI
EDDA RENOUF • JUDY RIFKA • PETER SCHUYFF • JUDITH SHEA • LORI TASCHLER • DARYL TRIVIERI
RICHARD TUTTLE • RUTH VOLLMER

PLATE 133

Charles Clough

American, born 1951
3/24/02, 2002
watercolor on paper, framed
8 1/8x11 in. (approx.)

160 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 134

Peter Hutchinson

British, born L930

Che in icn I Sc itlptin r
with Four Tubes. ls>70

glass tubes w ith salt,
copper sulphate and
potassium eliminate
formations

9x73/4x6 in.

FIFTY WORKS FOR FIFTY STATES • 161

PLATE 135

Robert Lobe

American, born 1945
Untitled, 1969

metal, including steel pipe, coated
spring wire, solder wire, and wood

33 x 60 x 27 in.

162 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PU\TE 136

Peter Schuyff

Hutch, born L958
Graham, L998
oil on tbund canvas

28 1/8 x 12 1/8 in.

FIFTY WORKS FOR FIFTY STATES •

163

OHIO

Akron Art Museum

AKRON

ROBERT BARRY • LYNDA BENGLIS • LOREN CALAWAY • CHARLES CLOUGH • RICHARD FRANCISCO
DON HAZLITT • JENE HIGHSTEIN • DAVID HUNTER • MARTIN JOHNSON • STEVE KEISTER • ALAIN KIRILI
MARK KOSTABI • JILL LEVINE • MICHAEL LUCERO • ROBERT MANGOLD • JOSEPH NECHVATAL
NAM JUNE PAIK • RAYMOND PARKER • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • JOHN SALT
JUDITH SHEA • LORI TASCHLER • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 137

Loren Calaway

American, born 1950
Untitled, 1979

wood, woven fabric, felted fabric, and
copper-alloy hardware

44 x 5 x 10 in.

164

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 138

David Hunter

American, born 1947

Untitled #33, 1997

pigment with hinder and graphite on paper

14 1/4 x 15 in.

FIFTY WORKS FOR FIFTY STATES • 165

PLATE 139

Raymond Parker

American, 1922 - 1990
Untitled, 1962

oil on canvas, in shadowbox frame
canvas (sight): 16 1/8 x 13 1/4 in.

166 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 140

John Salt

British, born 1937

Untitled (Vogcl living room drawn
from memory), 1973

colored pencil, ink, and graphite on paper

sheet (as folded): 3 1/2 x 5 1/8 in.

FIFTY WORKS FOR FIFTY STATES •

167

OKLAHOMA

Oklahoma City Museum of Art

OKLAHOMA CITY

ROBERT BARRY • LYNDA BENGLIS • MICHAEL CLARK (CLARK FOX) • CHARLES CLOUGH
RICHARD FRANCISCO • DON HAZLITT • JENE HIGHSTEIN • RALPH HUMPHREY • MARTIN JOHNSON
STEVE KEISTER • ALAIN KIRILI • MARK KOSTABI • JILL LEVINE • MICHAEL LUCERO • JOSEPH NECHVATAL
HENRY C. PEARSON • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • JUDITH SHEA • LORI TASCHLER
DARYL TRIVIERI • RICHARD TUTTLE • THORNTON WILLIS • TOD WIZON

PLATE 141

Ralph Humphrey

American, 1932 - 1990

Untitled, 1971

graphite, pastel, acrylic and collage on paper

21 15/16x29 3/4 in.

168

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 142

Martin Johnson

American, born 1951
Exerptunis, 198 1

metal armature, resin, textile, paint,
wood and plastic

49x33x 10 in.

PLATE 143

Henry C. Pearson

American, 1914-2006
The Aspects of the Case, 1969
ink and watercolor on orange paper
12x24 7/8 in.

170

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 144

Judith Shea

American, born 1948
Untitled, 1991

ink wash, watcrcolor, graphite,

and copper ink on paper

26 1/8 x 18 7/8 in.

FIFTY WORKS FOR FIFTY STATES • 171

OREGON

Portland Art Museum

PORTLAND

ROBERT BARRY • LYNDA BENGLIS • DIKE BLAIR • RICHMOND BURTON • CHARLES CLOUGH
RICHARD FRANCISCO • DON HAZLITT • JOHN HULTBERG • MARTIN JOHNSON • STEVE KEISTER
ALAIN KIRILI • MARK KOSTABI • MOSHE KUPFERMAN • JILL LEVINE • MICHAEL LUCERO
JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • JUDITH SHEA
HAP TIVEY • DARYL TRIVIERI • RICHARD TUTTLE • THORNTON WILLIS • BETTY WOODMAN

PLATE 145

Dike Blair

American, born 1952
Untitled, 1990

c-print, epoxy on etched
glass mounted on aluminum
strainer, triptych

overall: 54 x 18 in.
each panel: 18 x 18 in.

172 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 146

Richmond Burton

American, born 1960
Untitled, 1997
acrylic on paper

11 x 8 9/16 in.

FIFTY WORKS FOR FIFTY STATES • 173

PLATE 147

John Hultberg

American, 1922 - 2005
Suspension 5, 1967
oil on canvas, framed

18x22 1/8 in.

frame: 19 3/8x23 3/8 in.

174 • THE DOROTHY AND HERBERT VOGEL COLLECTION

^Hjtet#^«i #**

PLATE 148

Richard Nonas

American, born 1936

From Northern/Southern, 1974

graphite on paper

6 7/8x7 5/8 in.

4^ &*■*> r btmtmfi //Ujy»ftfN7f

FIFTY WORKS FOR FIFTY STATES • 175

PENNSYLVANIA

Pennsylvania Academy of the Fine Arts

PHILADELPHIA

WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • GARY BOWER • LISA BRADLEY • LOREN CALAWAY
CHARLES CLOUGH • RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HA2LITT • JENE HIGHSTEIN
STEWART HITCH • JIM HODGES • MARTIN JOHNSON • TOBI KAHN • STEVE KEISTER • ALAIN KIRILI
MARK KOSTABI • CHERYL LAEMMLE • JILL LEVINE • MICHAEL LUCERO • JOSEPH NECHVATAL
NAM JUNE PAIK • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • CHRISTY RUPP • ALAN SHIELDS
HAP TIVEY • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 149

Gary Bower

American, born 1940
Untitled, 1971

watercolor and graphite on paper
22 1/8x30 1/8 in.

176 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 150

Jim Hodges

American, born 1957

Blanket (Peter Norton Family
Christmas Project) , 1998

woven wool textile

52 x 72 in.

FIFTY WORKS FOR FIFTY STATES • 177

PLATE 151

Tobi Kahn

American, born 1952
OKYN, 1985
acrylic on panel

13 3/4 x 17 3/4 in.
frame: 21 1/8x25 1/8 in.

178

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 152

Christy Rupp

American, born 1949

Pigeon Flock with Rats, 1980

29 pieces: wire mesh, newspaper,
adhesive, plaster, aluminum and
paint, plus 2 screenprinted labels,
variable installation

rats and pigeons range in size from approximately
8 x 4 x 4 in. to 14 1/2 x 13 x 9 in.

FIFTY WORKS FOR FIFTY STATES •

179

RHODE ISLAND

Museum of Art, Rhode Island School of Design

PROVIDENCE

ROBERT BARRY • LYNDA BENGLIS • WILLIAM (BILL) BOLLINGER • CHARLES CLOUGH

RICHARD FRANCISCO • DON HAZLITT • STEWART HITCH • MARTIN JOHNSON • STEVE KEISTER

ALAIN KIRILI • CHERYL LAEMMLE • WENDY LEHMAN • JILL LEVINE • MICHAEL LUCERO

JOSEPH NECHVATAL • NAM JUNE PAIK • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • JOEL SHAPIRO

ALAN SHIELDS • HAP TIVEY • DARYL TRIVIERI • RICHARD TUTTLE

PLATE 153

William (Bill) Bollinger

American, 1939 - 1988
Untitled, 1968

graphite (sprayed) on paper mounted
on board

sheet: 14 1/4x22 7/8 in.
mount: 16 1/2 x 25 in.

180

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 154

Don Hazlitt

American, born 1948
Shaped Edjjc, 1980

oil on corrugated cardboard with
wire and painted wood dowels

29 x 18 1/2 x 1 3/4 in.

(including wire extension)

PLATE 155

Wendy Lehman

American, born 1945
Going Dotty >, 1981
acrylic on wood construction
23 x 16 3/4x6 1/8 in.

PLATE 156

Joel Shapiro

American, born 1941
Model for Two Houses, 2000

wood and white primer

height, including base: 11 in.
base: 16 3/4 x 15 x 11/16 in.

FIFTY WORKS FOR FIFTY STATES •

183

SOUTH CAROLINA

Columbia Museum of Art

COLUMBIA

ROBERT BARRY • ZIGI BEN-HAIM • LYNDA BENGLIS • CHARLES CLOUGH • PEGGY CYPHERS
RICHARD FRANCISCO • WILLIAM L. HANEY • DON HAZLITT • STEWART HITCH • MARTIN JOHNSON
STEVEN KARR • STEVE KEISTER • ALAIN KIRILI • CHERYL LAEMMLE • JILL LEVINE • MICHAEL LUCERO
JOSEPH NECHVATAL • RAYMOND PARKER • BETTY PARSONS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA
ROBERT STANLEY • HAP TIVEY • DARYL TRIVIERI • RICHARD TUTTLE • THORNTON WILLIS • BETTY WOODMAN

PLATE 157

Zigi Ben-Haim

American, born 1945
Just Before c84 , 1983

branches, newspaper, oil, wire
mesh on burlap on wood, diptych

left: 32 x 17 in. (irregular)
right: 30 1/8 x 17 in. (irregular)

184 • THE DOROTHY AND HERBERT VOGEL COLLECTION

•••-'■ -.;;,;

PLATE 1 58

Peggy Cyphers

American, born 1954
Galaxy's Empire, 1986

oil on two panels: top, oil on Mylar, laminated to
Plexi; bottom, oil and spray paint on mineralized
tar paper, laminated to wood

22 3/8 x 22 in.

FIFTY WORKS FOR FIFTY STATES •

185

PLATE 159

William L. Haney

American, born 1939
If Need Be, 1974

softground and drypoint etching on paper
edition: 10/13

9 1/2x12 3/4 in.

186 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 160

Steven Karr

American, born L923
Untitled. L975
Limestone

12 1/8x6 1/16x4 7/8 in.

FIFTY WORKS FOR FIFTY STATES • 18

SOUTH DAKOTA

South Dakota Art Museum, South Dakota
State University

BROOKINGS

ROBERT BARRY • LYNDA BENGLIS • LOREN CALAWAY • CHARLES CLOUGH • RICHARD FRANCISCO
PETER HALLEY • DON HAZLITT • MARTIN JOHNSON • STEVE KEISTER • ALAIN KIRILI • MICHAEL LATHROP
JILL LEVINE • MICHAEL LUCERO • JOSEPH NECHVATAL • BETTY PARSONS • LUCIO POZZI • EDDA RENOUF
JUDY RIFKA • ROBERT STANLEY • HAP TIVEY • DARYL TRIVIERI • RICHARD TUTTLE • THORNTON WILLIS

PLATE 161

Peter Halley

American, born 1953
Prison 7, 1995
ink. and graphite on paper
5 x 7 in.

188

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 162

Steve Keister

American, born 1949
Untitled, 1992

multiple types of wire, including
galvanized wire mesh, with metal
fasteners

12 x 12 x 16 1/2 in. (irregular)

PLATE 163

Michael Lathrop

American, born 1958/59 (?)

Vision of Nature III, 1999

acrylic on canvas board

7x4 15/16 in.

frame: 10 3/4x8 13/16 in.

190

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 164

Joseph Nechvatal

American, born 1951

The Moral Constant 1985
graphite and crayon on paper, diptych

each sheet: 11 x 14 in.

FIFTY WORKS FOR FIFTY STATES • 191

TENNESSEE

Memphis Brooks Museum of Art

MEMPHIS

WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • RICHARD FRANCISCO

DON HAZLITT • STEWART HITCH • MARTIN JOHNSON • STEVE KEISTER • ALAIN KIRILI • CHERYL LAEMMLE

RONNIE LANDFIELD • JILL LEVINE • MICHAEL LUCERO • GIUSEPPE NAPOLI • JOSEPH NECHVATAL

HENRY C. PEARSON • LUCIO POZZI • EDDA RENOUF • STEPHEN ROSENTHAL • PAT STEIR

JOHN TORREANO • DARYL TRIVIERI • RICHARD TUTTLE • THORNTON WILLIS

PLATE 165

Will Barnet

American, born 1911
Untitled, 1984
graphite and charcoal on paper
7 3/4x9 3/4 in.

192 • THE DOROTHY AND HERBERT VOGEL COLLECT

ON

PLATE 166

Cheryl Laemmle

American, born 1947
Untitled, 1987

watercolor and graphite on paper
14 1/8x10 3/16 in.

FIFTY WORKS FOR FIFTY STATES • 193

PLATE 167

Giuseppe Napoli

American, 1929- 1967
Untitled, n.d.

wood wall relict with paint, nails,
collage and incising

13 3/8x9 3/8x3 1/8 in.

194 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 168

Stephen Rosenthal

American, born 1935

ABRL, 1974

oil on unstretched canvas

24 1/4x21 in. (irregular)

FIFTY WORKS FOR FIFTY STATES

195

TEXAS

Blanton Museum of Art, University
of Texas at Austin

AUSTIN

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • RONALD BLADEN
LISA BRADLEY • CHARLES CLOUGH • RICHARD FRANCISCO • MICHAEL GOLDBERG • JENE HIGHSTEIN
STEVE KEISTER • ALAIN KIRILI • MICHAEL LUCERO • SYLVIA PLIMACK MANGOLD • ELIZABETH MURRAY
JOSEPH NECHVATAL • RICHARD NONAS • RICHARD PETTIBONE • LUCIO POZZI • EDDA RENOUF
DONALD SULTAN • DARYL TRIVIERI • RICHARD TUTTLE • RUTH VOLLMER • URSULA VON RYDINGSVARD

IB

PLATE 169

Alain Kirili

French, born 1946

Commandment, 1995
collage and charcoal on paper
22 1/4x30 in. (irregular)

196 • THE DOROTHY AND HERBERT VOGEL COLLECTIOI

PLATE 170

Sylvia Plimack Mangold

American, born 1938
Untitled (August), 1980
ink and watercolor on paper
5 15/16 x9in.

FIFTY WORKS FOR FIFTY STATES • 197

PLATE 171

Elizabeth Murray

American, 1940 - 2007

Green Cup - Brown Table, 1999

paper collage, with gouache and watercolor

11 3/4x9 3/8 in. (irregular)

198 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 172

Richard Pettibone

American, born 1938

Warhol's Marilyn Monroe, 1973

acrylic and silkscreen, six canvases

each: 2 3/8x1 15/16x3/8 in.

FIFTY WORKS FOR FIFTY STATES • L99

UTAH

Nora Eccles Harrison Museum of Art,
Utah State University

LOGAN

JO BAER • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • RICHARD FRANCISCO
DENISE GREEN • DON HAZLITT • STEWART HITCH • MARTIN JOHNSON • STEVE KEISTER • ALAIN KIRILI
CHERYL LAEMMLE • JILL LEVINE • MICHAEL LUCERO • CATHERINE E. MURPHY • JOSEPH NECHVATAL
RICHARD NONAS • LARRY POONS • LUCIO POZZI • EDDA RENOUF • PAT STEIR • DARYL TRIVIERI
RICHARD TUTTLE • LEO VALLEDOR • THORNTON WILLIS

PLATE 173

Jo Baer

American, born 1929
Untitled, 1968-69
oil on canvas board

9x9 3/4 in.

200

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 174

Denise Green

American, born 1946
Untitled (Steps), 1976
ink on paper

12 15/16 x 13 in.

FIFTY WORKS FOR FIFTY STATES • 201

PLATE 175

Catherine E. Murphy

American, born 1946

Still Life with Reproductions, 1974

lithograph on paper
edition: 84/150

8 1/8x12 1/4 in.

202 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 176

Richard Nonas

American, born 1936
Dry Creek Shorty, 1972
wood with nails
7 x 36 x 34 in.

FIFTY WORKS FOR FIFTY STATES • 203

VERMONT

Robert Hull Fleming Museum,
University of Vermont

BURLINGTON

CAREL BALTH • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • LOREN CALAWAY • CHARLES CLOUGH
RICHARD FRANCISCO • RODNEY ALAN GREENBLAT • DON HAZLITT • STEVE KEISTER • ALAIN KIRILI
CHERYL LAEMMLE • RONNIE LANDFIELD • JILL LEVINE • MICHAEL LUCERO • FORREST MYERS
JOSEPH NECHVATAL • LIL PICARD • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • BARBARA SCHWARTZ
PAT STEIR • JOHN TORREANO • DARYL TRIVIERI • RICHARD TUTTLE • RICHARD VAN BUREN

PLATE 1 77

Carel Balth

Dutch, born 1939
Line I, 1977

four color photographs mounted
on aluminum

23 1/4x30 11/16 in.

204 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 1 78

Rodney Alan Greenblat

American, born 1960
Wall Pal, n.d.
paint on plaster
6 1/4 x 5 x 5/8 in.

FIFTY WORKS FOR FIFTY STATES • 205

PLATE 179

Forrest Myers

American, born 1941
Untitled, 1975

metal sphere composed of various
metal tubes, ropes, wires and cables

diameter: 17 in. (irregular)

206

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 180

Barbara Schwartz

American, 1948 - 2006
Herodia, 1985
painted bronze

25 5/8 x 24 3/4x1 1/2 in.

VIRGINIA

Virginia Museum of Fine Arts

RICHMOND

ANNE ARNOLD • ROBERT BARRY • CHARLES CLOUGH • RICHARD FRANCISCO • DON HAZLITT
MARTIN JOHNSON • STEVE KEISTER • ALAIN KIRILI • CHERYL LAEMMLE • JILL LEVINE
JOSEPH NECHVATAL • DAVID NOVROS • LARRY POONS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA
PAT STEIR • DARYL TRIVIERI • RICHARD TUTTLE • THORNTON WILLIS

PLATE 181

Anne Arnold

American, born 1925

Cat 1963

watercolor and marker on paper

7x10 in.

208

• THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 182

Richard Francisco

American, born 1942
Southern Lightening, 1977
watercolor on paper on balsa wood
23 1/4x22 1/8 x 1/2 in.

FIFTY WORKS FOR FIFTY STATES • 209

PLATE 183

Jill Levine

American, born 1953
Suzy Hates Nancy, 1989
modeling compound, paint

14 1/4 x 11 3/4x17 1/8 in.

210 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 184

David Novros

American, born 1941
Untitled, 1992

ink on two joined sheets of paper
9 13/16x8 3/16 in.

FIFTY WORKS FOR FIFTY STATES • 21 1

WASHINGTON

Seattle Art Museum

SEATTLE

STEPHEN ANTONAKOS • WILL BARNET • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH
PEGGY CYPHERS • RICHARD FRANCISCO • MICHAEL GOLDBERG • DON HAZLITT • ALAIN KIRILI
CHERYL LAEMMLE • RONNIE LANDFIELD • SOL LEWITT • MICHAEL LUCERO • ROBERT MANGOLD
RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • JUDY RIFKA • TONY SMITH • DARYL TRIVIERI
RICHARD TUTTLE

PLATE 185

Stephen Antonakos

American, born 1926
Nov #2 1986, 1986
colored pencil on vellum

23 5/8 x 20 in.

212 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 186

Sol LeWitt

American, 1928-2007

Maqucttc for Complex
Form MH #1(1 L990

synthetic resin panels,
adhesive, and paint, with
graphite

12x8 3/8x5 1/2 in.

FIFTY WORKS FOR FIFTY STATES •

213

PLATE 187

Tony Smith

American, 1912-1980
Untitled, 1971

heavy-weight paper, adhesive, and paint
6 1/4x9x3 3/4 in.

214 • THE DOROTHY AND HERBERT VOGEL COLLECTION

HAND LINE REFLECTION METHOD ff~ $

>■

PLATE 188

Terry Winters

American, born 1949

Hand Line Reflection
Method 15/100, 1995

ink on paper

13x8 1/2 in.

^tr

FIFTY WORKS FOR FIFTY STATES • 215

WEST VIRGINIA

Huntington Museum of Art

HUNTINGTON

NANCY ARLEN • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • RICHARD FRANCISCO

DIXIE FRIEND GAY • DON HAZLITT • STEWART HITCH • MARTIN JOHNSON • STEVE KEISTER • ALAIN KIRILI

CHERYL LAEMMLE • JILL LEVINE • ROBERT MANGOLD • VIK MUNIZ • RICHARD NONAS • LUCIO POZZI

EDDA RENOUF • EDWARD RENOUF • RODNEY RIPPS • DONALD SULTAN • DARYL TRIVIERI • RICHARD TUTTLE

THORNTON WILLIS • MICHAEL ZWACK

PLATE 189

Nancy Arlen

American, 1947 - 2006
Dorothy, 1979 (?)

cast polyester cylinders with
metal screws

28x21 x 17 in.

216

THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 190

Dixie Friend Gay

American, born 1953
Double Head #5, 1980
ink and graphite on paper
10 1/2x8 1/4 in.

FIFTY WORKS FOR FIFTY STATES • 217

Us?

PLATE 191

Vik Muniz

Brazilian, born 1961

Untitled (Re-Creation
of Car av agio's Medusa)
(Peter Norton Family
Christmas Project), 1999

Bernardaud Limoges porcelain plate
diameter: 12 3/8 in.

PLATE 192

Michael Zwack

American, born 1949

The History of the Worlds 2003

raw pigment and oil on paper

19 1/4x24 5/8 in.

FIFTY WORKS FOR FIFTY STATES • 219

WISCONSIN

Milwaukee Art Museum

MILWAUKEE

JOE ANDOE • ROBERT BARRY • LYNDA BENGLIS • CHARLES CLOUGH • RICHARD FRANCISCO
MICHAEL GOLDBERG • SIDNEY GORDIN • DON HAZLITT • MARTIN JOHNSON • STEVE KEISTER
MARK KOSTABI • CHERYL LAEMMLE • JILL LEVINE • SOL LEWITT • ROBERT MANGOLD • KYLE MORRIS
RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • EDWARD RENOUF • RODNEY RIPPS • DONALD SULTAN
DARYL TRIVIERI • RICHARD TUTTLE • THORNTON WILLIS • BETTY WOODMAN

PLATE 193

Joe Andoe

American, born 1955
Untitled, n.d.

lacquered acrylic on paper
9 1/2x6 1/2 in.

220 • THE DOROTHY AND HERBERT VOGEL COLLECTION

PLATE 194

Michael Goldberg

American, 1924 - 2007
Untitled, 1990

oil and charcoal on paper
10 1/2x19 3/4 in. (irregular)

FIFTY WORKS FOR FIFTY STATES •

221

PLATE 195

Sidney Gordin

American (born Soviet Union), 1918 - 1996

Untitled, n.d.

metal construction on wood base

18 1/2x13x7 in.

PLATE 196

Kyle Morris

American, 1918-1979

Fall - Winter Series '72 No. 3, 1972

ink on paper

11 x 17 in.

FIFTY WORKS FOR FIFTY STATES • 223

WYOMING

University of Wyoming Art Museum

LARAMIE

GREGORY AMENOFF • ROBERT BARRY • LYNDA BENGLIS • CHRYSSA • CHARLES CLOUGH
RICHARD FRANCISCO • DAVID GILHOOLY • DON HAZLITT • STEWART HITCH • MARTIN JOHNSON
STEVE KEISTER • MARK KOSTABI • CHERYL LAEMMLE • ROBERT LOBE • ROBERT MANGOLD
JOSEPH NECHVATAL • RICHARD NONAS • LUCIO POZZI • EDDA RENOUF • EDWARD RENOUF
RODNEY RIPPS • DONALD SULTAN • LORI TASCHLER • DARYL TRIVIERI • RICHARD TUTTLE
URSULA VON RYDINGSVARD • JOE ZUCKER

PLATE 197

Gregory Amenoff

American, born 1948
Laumede #16, 1997
gouache on paper, framed
frame: 13 x 10 in.

224 • THE DOROTHY AND HERBERT VOGEL COLLECTION

8

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it

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PLATE 198

Chryssa

American (born Greece), born 1933
Analysis o/T, n.d.

pencil and conte crayon on paper
mounted on board

sheet: 12x8 3/4 in.
mount: 12 3/4x9 1/2 in.

FIFTY WORKS FOR FIFTY STATES • 225

PLATE 199

David Gilhooly

American, born 1943
~Frog Sandwich, 1977
glazed ceramic with sesame seeds
4x33/4x3 5/8 in.

226 • THE DOROTHY AND HERBERT VOGEL COLLECTION

X.

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F&P'*

/

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.-

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PLATE 200

Joseph Nechvatal

American, born 1951

Tlte New Sobriety, L983

graphite and crayon on paper
11 1/16x 13 15/16 in.

FIFTY WORKS FOR FIFTY STATES • 227

ARTIST INDEX

GREGORY AMENOFF, American, bom 1948
Laumede #16, page 224

Wyoming

ERIC AMOUYAL, Israeli, born 1962
Seeds: New York #2, page 28
Alabama

WILLIAM ANASTASI, American, bom 1933
Subway Drawing, page 40
Arkansas, California, Georgia

JOE ANDOE, American, born 1955
Untitled, page 220
Wisconsin

CARL ANDRE, American, born 1935
Untitled, page 44
California

STEPHEN ANTONAKOS, American, born 1926

Five Incomplete Circles, page 76; Nov #2 1986, page 212

Arizona, California, Delaware, Georgia, Illinois, Indiana, Iowa, Maryland, Massachusetts,
Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, North Carolina,
Texas, Washington

RICHARD ANUSZKIEWICZ, American, born 1930
Temple of Red with Orange, page 36
Arizona

NANCY ARLEN, American, 1947 - 2006
Dorothy, page 216
West Virginia

ANNE ARNOLD, American, born 1925
Cat, page 208

Virginia

RICHARD ARTSCHWAGER, American, born 1923

Thousand Cubic Inches Prototype, page 152 v

New York

JO BAER, American, born 1929
Untitled, page 200

Utah

CAREL BALTH, Dutch, born 1939
Line I, page 204
Vermont

FIFTY WORKS FOR FIFTY STATES • 229

WILL BARNET, American, born 1911

Study for Voxels (Herb with hands on chin), page 84; Untitled, page 192

Alabama, Arizona, Arkansas, Colorado, Connecticut, Delaware, Florida, Georgia, Idaho, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts, Michigan, Minnesota,
Mississippi, Missouri, Montana, Nebraska, New Jersey, Pennsylvania, Tennessee, Texas, Vermont,
Washington

ROBERT BARRY, American, born 1936
Untitled, page 128; Silver Collage, page 140

All states

ZIGI BEN-HAIM, American, born 1945
Just Before '84, page 184

South Carolina

LYNDA BENGLIS, American, born 1941

Gestural Study, page 92; Tacpere Maptom, page 112

Arizona, Arkansas, California, Delaware, Georgia, Indiana, Kentucky, Douisiana, Massachusetts,
Michigan, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico, New York, North
Carolina, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota,
Tennessee, Texas, Utah, Vermont, Washington, West Virginia, Wisconsin, Wyoming

JOSEPH BEUYS, German, 1921-1986
Noiseless Blackboard Eraser, page 85

Iowa

JAMES BISHOP, American, born 1927
Untitled, page 108

Indiana, Douisiana, Massachusetts

RONALD BLADEN, American (born Canada), 1918 - 1988

Five Studies: 'Black Tower' and four unknown sculptures, page 144

Massachusetts, New Jersey, Texas

DIKE BLAIR, American, born 1952
Untitled, page 172
Oregon

WILLIAM (BILL) BOLLINGER, American, 1939-1988
Untitled, page 180

Rhode Island

GARY BOWER, American, born 1940
Untitled, page 176

Pennsylvania

LISA BRADLEY, American, born 1951
Inside Out, page 124

Douisiana, Maine, Maryland, Minnesota, Mississippi, Missouri, Pennsylvania, Texas

RICHMOND BURTON, American, born 1960
Untitled, page 173
Oregon

ANDRE CADERE, Romanian, 1934 - 1978
A-1 0203000 = 25=1x12=, page 1 04
Maryland

230 • THE DOROTHY AND HERBERT VOGEL COLLECTION

LOREN CALAWAY, American, born 1950
Untitled, page 164

Arizona, Colorado, Connecticut, Delaware, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas,
Kentucky, Ohio, Pennsylvania, South Dakota, Vermont

PETER CAMPUS, American, born 1937
Untitled, page 52
Connecticut

MCWILLIE CHAMBERS, American, born 1951
Untitled woodcuts and 5. V. Elissa with Sun, page 1 56

North Carolina

ANN CHERNOW, American, born 1936

J Get Along Without Ton Very Well, page 32

Alaska

CHRYSSA, American (born Greece), born 1933
Analysis ofT, page 225
Wyoming

MICHAEL CLARK (CLARK FOX) American, bom 1946

Dorothy, page 48

Alabama, Arizona, Arkansas, Colorado, Delaware, Florida, Georgia, Indiana, Kentucky,
New Jersey, Oklahoma

JOHN CLEM CLARKE, American, born 1937
Untitled, page 141
New Hampshire

CHARLES CLOUGH, American, born 1951
August Fifteenth, page 100; 3/24/02, page 160

All states

PINCHAS COHEN GAN, American, born 1942
Figurative Circuit Nl, page 129
Louisiana, Montana

KATHLEEN COOKE, American, (born Ireland), 1908 - 1978
Untitled, page 56
Delaware

PEGGY CYPHERS, American, born 1954
Galaxy's Empire, page 185

Illinois, Iowa, South Carolina, Washington

GENE DAVIS, American, 1920 - 1985
Untitled, page 88
Kansas

CLAUDIA DE MONTE, American, born 1947
Claudia with Snake, page 1 1 6

Hawaii, Kentucky, Maine, Maryland, Michigan, Minnesota, Mississippi, Missouri, Montana,
Nebraska, Nevada, New Hampshire

FIFTY WORKS FOR FIFTY STATES • 231

STUART DIAMOND, American, born 1942
Untitled, page 145
New Jersey

LOIS DODD, American, born 1927
Butternut Branches, page 53

Connecticut

KOKI DOKTORI, Israeli (>), born 1941
On the Run, page 153
New York

RACKSTRAW DOWNES, British, born 1939
Disused Weather Station, Galveston, TX, page 101

Maine, Massachusetts

ROBERT DURAN, American, born 1938
Untitled, page 41
Arkansas

BENNI EFRAT, Israeli, born 1936
From ExtoX, page 109

Massachusetts

WILLIAM FARES, American, born 1942
Untitled, page 77
Illinois

R.M. FISCHER, American, born 1947
Doctor's Lamp, page 72

Idaho, New Mexico, New York

JOEL FISHER, American, born 1947
Untitled, page 60
Alaska, Florida

RICHARD FRANCISCO, American, born 1942

Studio Garden, page 37; Southern Lightening, page 209

All states

ADAM FUSS, British, born 1961
Untitled, page 49
Colorado

CHARLES GAINES, American, born 1944
Walnut Tree Orchard Set L, page 42

Arkansas

DIXIE FRIEND GAY, American, born 1953
Double Head #5, page 217
West Virginia

JON GIBSON, American, born 1940
30% page 80
Indiana

232 • THE DOROTHY AND HERBERT VOGEL COLLECTION

DAVID GILHOOLY, American, born 1943
Frog Sandwich, page 226

Wyoming

MICHAEL GOLDBERG, American, 1924 - 2007
Tarascon, page 110; Untitled, page 221

Alabama, Arizona, Arkansas, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota,
Mississippi, Montana, Pennsylvania, Texas, Washington, Wisconsin

RONALD GORCHOV, American, born 1930
Untitled, page 120
Kentucky, Mississippi

SIDNEY GORDIN, American (born Soviet Union), 1918 - 1996
Untitled, page 222
Wisconsin

DAN GRAHAM, American, born 1942

For Laumier Sculpture Park, St. Louis, page 125

California, Massachusetts, Missouri

DENISE GREEN, American, born 1946
Untitled (Steps), page 201

Utah

RODNEY ALAN GREENBLAT, American, born 1960
Wall Pal, page 205

Georgia, Vermont

PETER HALLEY, American, bom 1953
Prison 7, page 188

Kentucky, South Dakota

WILLIAM L. HANEY, American, born 1939
If Need Be, page 186
Missouri, South Carolina

DON HAZLITT, American, born 1948
Sunset, page 50; Shaped Edge, page 181

Alabama, Alaska, Arizona, Colorado, Connecticut, Delaware, Florida, Hawaii, Idaho, Illinois,
Indiana, Iowa, Kansas, Maine, Maryland, Michigan, Minnesota, Mississippi, Montana, Nebraska,
Nevada, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota,
Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee,
Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, Wyoming v

JENE HIGHSTEIN, American, born 1942

Untitled, page 132; Aluminum Casting of Koom with One Door, page 133

Alaska, Arizona, Arkansas, Colorado, Florida, Georgia, Hawaii, Idaho, Illinois, Kansas, Kentucky,
Louisiana, Michigan, Minnesota, Mississippi, Missouri, Nebraska, New Hampshire, New Mexico,
New York, North Carolina, North Dakota, Ohio, Oklahoma, Pennsylvania, Texas

STEWART HITCH, American, 1940 - 2002
Schenevus, page 33

Alaska, Arizona, Delaware, Georgia, Indiana, Kentucky, Louisiana, Pennsylvania, Rhode Island,
South Carolina, Tennessee, Utah, West Virginia, Wyoming

FIFTY WORKS FOR FIFTY STATES • 233

JIM HODGES, American, born 1957

Blanket (Peter Norton Family Christmas Project), page 177

Pennsylvania

TOM HOLLAND, .American, born 1936
Untitled #i, page 57
Delaware

JOHN HULTBERG, American, 1922 - 2005
Suspension 5, page 1 74
Oregon

RALPH HUMPHREY, American, 1932 - 1990
Untitled, page 168

Florida, Oklahoma

BRYAN HUNT, American, born 1947
Quarry Study, page 93

Idaho, Illinois, Kentucky, New Jersey

DAVID HUNTER, American, born 1947
Untitled #33, page 165

Ohio

PETER HUTCHINSON, British, born 1930
Chemical Sculpture with Four Tubes, page 161

Iowa, Kansas, Maine, Maryland, Michigan, Minnesota, Mississippi, Missouri, Nebraska,
North Dakota

WILL INSLEY, American, born 1929
Untitled, page 64
Georgia

PATRICK IRELAND (1972 - 2008) AKA BRIAN O'DOHERTY, American, bom 1934
Untitled, page 34

Alaska

RALPH IWAMOTO, American, born 1927
Study Steps #3, page 157

North Carolina

NEIL JENNEY, American, born 1945
Herb Vogel Thinking, page 148

Montana, Nevada, New Mexico

BILL JENSEN, American, born 1945
Untitled, page 68

Alaska, Hawaii, Louisiana, New Hampshire, New Jersey, New Mexico, New York, North Carolina,
North Dakota

MARTIN JOHNSON, American, born 1951
Inure Self, page 113; Exerptunis, page 169

Alabama, Arizona, Arkansas, Colorado, Connecticut, Delaware, Florida, Idaho, Illinois, Iowa,
Kansas, Kentucky, Maine, Maryland, Michigan, Minnesota, Mississippi, Missouri, Montana,
Nebraska, Nevada, New Hampshire, New Jersey, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode
Island, South Carolina, South Dakota, Tennessee, Utah, Virginia, West Virginia, Wisconsin,
Wyoming

234 • THE DOROTHY AND HERBERT VOGEL COLLECTION

JOAN JONAS, American, born 1936
Dog/Dcco\, page 45
California, Hawaii, New Mexico

TOBI KAHN, American, born 1952
OKYN, page 178
New York, Pennsylvania

STEPHEN KALTENBACH, American, born 1940

God gave Noah the rainbow sign: No More Water, The Fire Next Time, page 130
Alaska, Montana, North Carolina

STEVEN KARR, American, born 1923
Untitled, page 187
South Carolina

STEVE KEISTER, American, born 1949
Untitled, page 89; Untitled, page 189

Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Florida, Georgia, Hawaii,
Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Maine, Maryland, Massachusetts, Michigan, Min-
nesota, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, New
York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South
Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, West Virginia, Wisconsin,
Wyoming

ALAIN KIRILI, French, born 1946
Commandment, page 196

Alaska, Hawaii, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Okla-
homa, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah,
Vermont, Virginia, Washington, West Virginia

MARK KOSTABI, American, born 1960
Progress of Beauty 3, page 1 14

Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Florida, Hawaii, Idaho,
Illinois, Iowa, Kansas, Louisiana, Maine, Maryland, Michigan, Minnesota, Mississippi, Missouri,
Montana, Nebraska, Nevada, New Hampshire, New Mexico, New York, North Dakota, Ohio,
Oklahoma, Oregon, Pennsylvania, Wisconsin, Wyoming

MOSHE KUPFERMAN, Israeli (born Poland), 1926 - 2003
Untitled, page 105

Maryland, Oregon

CHERYL LAEMMLE, American, born 1947
Specters in the Forest, page 78; Untitled, page 193

Alabama, Arizona, Arkansas, Colorado, Connecticut, Florida, Illinois, Louisiana, Maryland,
New Jersey, Pennsylvania, Rhode Island, South Carolina, Tennessee, Utah, Vermont, Virginia,
Washington, West Virginia, Wisconsin, Wyoming

RONNIE LANDFIELD, American, born 1947
Untitled, page 73

Delaware, Georgia, Idaho, Illinois, Indiana, Iowa, Louisiana, Maine, Michigan, Minnesota,
Mississippi, Tennessee, Vermont, Washington

MICHAEL LASH, American, born 1961
Simon i a Sissy, page 1 1 7

Minnesota, Mississippi, Missouri, Nebraska

FIFTY WORKS FOR FIFTY STATES • 235

JOHN LATHAM, British, 1921 - 2006
One Second Drawing, page 96

Louisiana

MICHAEL LATHROP, American, born 1958/59 (?)
Vision of Nature III, page 190

South Dakota

WENDY LEHMAN, American, born 1945
Going Dotty, page 182

Alaska, Hawaii, Montana, Nevada, New Hampshire, New Mexico, New York, Rhode Island

ANNETTE LEMIEUX, American, born 1957
Popular Wall Painting (after Ken), page 86
Iowa

JILL LEVINE, American, born 1953
Suzy Hates Nancy, page 210

Colorado, Michigan, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South
Carolina, South Dakota, Tennessee, Utah, Vermont, Virginia, West Virginia, Wisconsin

SOL LEWITT, American, 1928 - 2007
Maquettefor Complex Form MH #10, page 213
Washington, Wisconsin

ROY LICHTENSTEIN, American, 1923 - 1997
Turkey Shopping Bag, page 74
Idaho

ROBERT LOBE, American, born 1945
Untitled, page 162

Michigan, North Dakota, Wyoming

MICHAEL LUCERO, American, born 1953

Untitled (Standing Figure with Spotlights), page 51; Untitled (Head Study) , page 97

Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Florida, Hawaii, Idaho,
Illinois, Iowa, Kansas, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota,
Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico,
New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island,
South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Washington

ROBERT MANGOLD, American, born 1937
Violet/Black Zone Study, page 58

Alabama, Arizona, Arkansas, Delaware, Indiana, Kentucky, Massachusetts, Ohio, Washington, West
Virginia, Wisconsin, Wyoming

SYLVIA PLIMACK MANGOLD, American, born 1938
Untitled (August), page 197

Colorado, Connecticut, Florida, Texas

ANDY MANN, American, 1949 - 2001
X Matrix, page 38

Arizona, Florida

ALLAN MCCOLLUM, American, born 1944

For Presentation and Display: Ideal Setting by Louise Lawler and Allan McCollum, page 29
Alabama

236 • THE DOROTHY AND HERBERT VOGEL COLLECTION

ANTONI MIRALDA, Spanish, born 1942
Untitled, page 1 02
Maine

WILLIAM MOREHOUSE, American, 1929 - 1993
Untitled, page 61
Florida

KYLE MORRIS, American, 1918 - 1979
Fall - Winter Series '72 No. 3, page 223

Wisconsin

VIK MUNIZ, Brazilian, born 1961

Untitled (Re-Creation of ' Caravaj^gio's Medusa) (Peter Norton Family Christmas Project),

page 218

West Virginia

TAKASHI MURAKAMI, Japanese, born 1963

Oval (Peter Norton Family Christmas Project), page 121

Mississippi

CATHERINE E. MURPHY, American, born 1946
Still Life with Reproductions, page 202

Utah

ELIZABETH MURRAY, American, 1940 - 2007
Green Cup - Brown Table, page 198

Indiana, Texas ,

FORREST MYERS, American, born 1941
Untitled, page 206

Idaho, Illinois, Vermont

GIUSEPPE NAPOLI, American, 1929 - 1967
Untitled, page 194

Tennessee

JOSEPH NECHVATAL, American, born 1951

The Moral Constant, page 191; The New Sobriety, page 227

Alaska, Hawaii, Iowa, Kansas, Maine, Maryland, Michigan, Minnesota, Mississippi, Missouri,
Montana, Nebraska, Nevada, New Hampshire, New Mexico, New York, North Carolina, North
Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota,
Tennessee, Texas, Utah, Vermont, Virginia, Wyoming

RICHARD NONAS, American, born 1936

From Northern/Southern, page 175; Dry Creek Shorty, page 203

Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Florida, Hawaii, Idaho,
Illinois, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan,
Minnesota, Mississippi, Missouri, Montana, Nebraska, New Hampshire, New Jersey, New Mexico,
New York, North Carolina, North Dakota, Oregon, Texas, Utah, Washington, West Virginia,
Wisconsin, Wyoming

DAVID NOVROS, American, born 1941
Untitled, page 2 1 1
Virginia

FIFTY WORKS FOR FIFTY STATES • 237

NAM JUNE PAIK, American (born Korea), 1932 - 2006
Untitled, page 54
California, Connecticut, Ohio, Pennsylvania, Rhode Island

RAYMOND PARKER, American, 1922 - 1990
Untitled, page 166

Ohio, South Carolina

BETTY PARSONS, American, 1900 - 1982
Brush Up, page 43

Arkansas, South Carolina, South Dakota

HENRY C. PEARSON, American, 1914 - 2006
The Aspects of the Case, page 170
Oklahoma, Tennessee

JOEL PERLMAN, American, born 1943
Untitled, page 69
Hawaii

RICHARD PETTIBONE, American, born 1938
Warhol's Marilyn Monroe, page 199
Texas

LIL PICARD, German, 1899 - 1994
The Voxel's Napkinian Fantasy, page 98

Louisiana, Vermont

LARRY POONS, American, born 1937
Untitled, page 1 54
New Jersey, New York, Utah, Virginia

KATHERINE PORTER, American, born 1941
Untitled, page 149
New Mexico

LUCIO POZZI, American, born 1935
Tamiglia, page 81; Nude, page 150

Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Florida,
Georgia, Hawaii, Idaho, Illinois, Indiana, Iowa, Kansas, Louisiana, Maine, Maryland, Massachusetts,
Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New
Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon,
Pennsylvania, Rhode Island, Sourii Carolina, South Dakota, Tennessee, Texas, Utah, Vermont,
Virginia, Washington, West Virginia, Wisconsin, Wyoming

DAVID RABINOWITCH, Canadian, born 1943
Linear Mass in 3 Scales I, page 82

Alabama, Indiana

DAVID REED, American, born 1946
Working Drawing for #508, page 70
Alabama, Arizona, Hawaii

EDDA RENOUF, American, born 1943
Wing Piece II, page 83; August-Week 2, page 155
All states

238 • THE DOROTHY AND HERBERT VOGEL COLLECTION

EDWARD RENOUF, American, 1906-1999

Untitled, page 136

Arizona, Connecticut, Florida, Idaho, Illinois, Iowa, Kansas, Louisiana, Nevada, West Virginia,
Wisconsin, Wyoming

JUDY RIFKA, American, born 1945
Untitled, page 71

Alaska, Delaware, Hawaii, Indiana, Maine, Maryland, Massachusetts, Minnesota, Missouri, New
Hampshire, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon,
Pennsylvania, Rhode Island, South Carolina, South Dakota, Vermont, Virginia, Washington

RODNEY RIPPS, American, born 1950
Galaxy, page 146
New Jersey, West Virginia, Wisconsin, Wyoming

ALEXIS ROCKMAN, American, born 1962
Untitled, page 1 58
North Carolina

STEPHEN ROSENTHAL, American, born 1935
ABRL, page 195

Connecticut, Idaho, Tennessee

CHRISTY RUPP, American, born 1949
Pigeon Flock with Rats, page 179

Idaho, Pennsylvania

DAVID SALLE, American, born 1952
Untitled, page 111
Massachusetts

JOHN SALT, British, bom 1937

Untitled (Vogel living room drawn from memory), page 167

Ohio

ALAN SARET, American, born 1944
Untitled, page 147
California, Georgia, Illinois, New Jersey

DAVID SAWIN, American, born 1922
Formal Structure, page 142
New Hampshire

F. (FRANK) L. SCHRODER, American, born 1950
Automatic Pilot, page 137
Nevada

HANS JURGEN [H.A.] SCHULT, German, born 1939
Untitled, page 1 34
Nebraska

PETER SCHUYFF, Dutch, bom 1958
Graham, page 1 63
Kansas, North Dakota

FIFTY WORKS FOR FIFTY STATES • 239

BARBARA SCHWARTZ, American, 1948 - 2006
Herodia, page 207

Hawaii, Kansas, Louisiana, Maine, Maryland, Minnesota, Missouri, New Jersey, New Mexico, New
York, Vermont

JOEL SHAPIRO, American, born 1941
Model for Two Houses, page 183
Rhode Island

JUDITH SHEA, American, born 1948
Untitled, page 171
Alaska, New Jersey, North Dakota, Ohio, Oklahoma, Oregon

CINDY SHERMAN, American, born 1954
Untitled, page 122

Mississippi

ALAN SHIELDS, American, 1944 - 2005
Untitled, page 118

Minnesota, Pennsylvania, Rhode Island

YINKA SHONIBARE, British, born 1962

Doll House (Peter Norton Family Christmas Project), page 115

Michigan

LORNA SIMPSON, American, born 1960

III (Peter Norton Family Christmas Project), page 106

Maryland

TONY SMITH, American, 1912 - 1980
Untitled, page 214
Washington

KEITH SONNIER, American, born 1941
BA -O-BAIII, page 87

Iowa

RICHARD STANKIEWICZ, American, 1922 - 1983
Untitled, page 30
Alabama

ROBERT STANLEY, American, 1932 - 1997
Crackerjack, page 62
Florida, South Carolina, South Dakota

PAT STEIR, American, born 1940

Little Paynes Gray Brushstroke on a Paynes Gray Background, page 75; Red Cascade, page 94

Delaware, Idaho, Kentucky, Massachusetts, Tennessee, Utah, Vermont, Virginia

GARY STEPHAN, American, born 1942
Untitled, page 119

Minnesota

MICHELLE STUART, American, born 1938
July, New Hampshire, page 143

New Hampshire

240 • THE DOROTHY AND HERBERT VOGEL COLLECTION

DONALD SULTAN, American, born 1951
Pomegranates, page 63

Delaware, Florida, Texas, West Virginia, Wisconsin, Wyoming

LORI TASCHLER, American, born 1959
Untitled, page 35

Alaska, Connecticut, Hawaii, Illinois, Maine, Maryland, Minnesota, North Carolina, North Dakota,
Ohio, Oklahoma, Wyoming

HAP TIVEY, American, born 1947
Mirage #4, page 126

Missouri, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota

JOHN TORREANO, American, born 1941
Untitled, page 107
Maryland, Tennessee, Vermont

DARYL TRIVIERI, American, born 1957

Portrait of Herb and Dorothy, page 46; The Elements of Drawing, page 90

All states

RICHARD TUTTLE, American, born 1941

Ball Drawing, page 3 1 ; Dorothy's Birthday Present, page 55; Two Black Dots with a Space In
Between, page 65; Chicago 14, No. 1, page 99; Rome Drawing #63, page 1 5 1

All states

LYNN UMLAUF, American, born 1942
Untitled, page 123
Mississippi

LEO VALLEDOR, American, 1936 - 1989
Untitled, page 127
Missouri, Utah

RICHARD VAN BUREN, American, born 1937
Untitled, page 135

Nebraska, Vermont

RUTH VOLLMER, American, 1903 - 1982
Pentagon, page 131

Hawaii, Massachusetts, Missouri, Montana, New Hampshire, North Dakota, Texas

URSULA VON RYDINGSVARD, American (born Germany), born 1942
Light Drawing 2/7/81 12 Noon, page 66

Georgia, Kentucky, Texas, Wyoming

ROBERT MARSHALL WATTS, American, 1923 - 1988
Untitled (Assorted Eggs from American Supermarket), page 47
California

LAWRENCE WEINER, American, born 1940
Paris, page 39
Arizona, Texas

BETTINA WERNER, Italian, born 1965

Campi neri di pensicro (Black Fields of. Thought), page 138

Nevada

FIFTY WORKS FOR FIFTY STATES •

241

JOSEPH WHITE, American, bom 1938
Untitled, page 91

Kansas

THORNTON WILLIS, American, born 1936
The Tall Patriot, page 79

Georgia, Illinois, Oklahoma, Oregon, South Carolina, South Dakota, Tennessee, Utah, Virginia,
West Virginia, Wisconsin

TERRY WINTERS, American, born 1949
Hand Line Reflection Method 15/100, page 215

Washington

TOD WIZON, American, born 1952
Untitled, page 103
Maine, Oklahoma

MARTIN WONG, American, 1946 - 1999
Untitled, page 95

Kentucky

BETTY WOODMAN, American, born 1930
Garden Corner, page 67
Georgia, Kentucky, New Jersey, Oregon, South Carolina, Wisconsin

MARIO YRISSARY, American, born 1933
Untitled, page 159
North Carolina

LARRY ZOX, American, 1937 - 2006
Scissors Jack Series, page 139
Nevada

JOE ZUCKER, American, born 1941
Candle, page 59

Delaware, Wyoming

MICHAEL ZWACK, American, born 1949
The History of the World, page 219
West Virginia

242 • THE DOROTHY AND HERBERT VOGEL COLLECTION

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