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Pace Gallery

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Jean Dubuffet, La dame au pompon, 1946, mixed media and oil on canvas, Chester Dale Fund, 1986.11.1

La dame au pompon

Jean Dubuffet · 1946 · mixed media and oil on canvas ·  Accession ID  1986.11.1

This drawing is made up of seven panels arranged in a horizontal line that all show a detailed black and white panorama of the United States Capitol building, captured from a distance. The dome of the building is captured in the central panel, while the rest of it extends to the left and the right. The far right and left panels don't contain any of the building and show only the surrounding landscape. All of the columns, windows, doorways, and decorative engravings are captured in extreme detail. The sky behind the building is dark, with a few light gray clouds. The foreground features the black silhouettes of trees, partially obscuring the bottom of the building. There is a small amount of space between each panel, creating vertical white lines that divide the drawing. “
Robert Longo, The Whale (The United States Capitol), 2012-2013, charcoal on seven sheets of paper mounted to aluminum, Gift of Clifford Ross, Photograph courtesy of the artist, 2023.6.1.a-g

The Whale (The United States Capitol)

Robert Longo · 2012-2013 · charcoal on seven sheets of paper mounted to aluminum ·  Accession ID  2023.6.1.a-g

This sculpture depicts a large object with a round red base and a white handle with a small hole in the center. Large tassels extend upwards out of the handle, appearing to be in motion. The tassels or bristles are long, thin, and dark blue, extending upwards and outwards. The colors of the sculpture are vibrant. The setting is outdoors amidst green grass with a backdrop of trees showing shades of orange, yellow, and brown.
Coosje van Bruggen, Claes Oldenburg, Typewriter Eraser, Scale X, model 1998, fabricated 1999, painted stainless steel and fiberglass, Gift of The Morris and Gwendolyn Cafritz Foundation, 1998.150.1

Typewriter Eraser, Scale X

Coosje van Bruggen, Claes Oldenburg · model 1998, fabricated 1999 · painted stainless steel and fiberglass ·  Accession ID  1998.150.1

Abstract forms in white, outlined with bold black lines, turn, twist, and curve up around a person with cartoon-like features in this free-standing sculptural piece. The shapes create legs and are pierced with holes, like an abstracted coral reef. The forms are bright white with thick black outlines around all the edges and crossing the curves and angled sides of the forms. In this photograph, it is not possible to see if a vaguely H-shaped section to our left is attached to or stands independently from the row behind it. A person with abstracted eyes, nose, and mouth stands in front of the sculpture, to our right. In this photograph, the sculpture stands on a plinth in a room with a wood floor and a white wall behind it.
Jean Dubuffet, Site à l'homme assis, 1969-1984, polyester resin, Gift of Robert M. and Anne T. Bass and Arnold and Mildred Glimcher, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.100.1

Site à l'homme assis

Jean Dubuffet · 1969-1984 · polyester resin ·  Accession ID  1991.100.1

Narrow, horizontal bands of oyster white, pale blue, and faint peach, separated by denim-blue lines like a ruled sheet of paper, fill this square painting. The white, peach, and blue bands do not make a pattern, and there are a few areas where several white rows are clustered, including along the bottom edge.
Agnes Martin, Untitled #2, 1981, acrylic and blue pencil on canvas, Robert and Jane Meyerhoff Collection, 1992.28.6

Untitled #2

Agnes Martin · 1981 · acrylic and blue pencil on canvas ·  Accession ID  1992.28.6

A canvas painted pale pink, straw yellow, and cobalt blue is stretched over a support shaped like a letter V with rippling sides in this abstract composition. A wobbly ring of yellow across the top suggests an opening. A red line or tube curves from the right rim to the top, and then into the vessel. The other end of the red tube coils in a tight curl and is visible through a square opening at the middle of the painting. A yellow rectangle is to the left and a yellow square to the right of the opening. Both are outlined in blue, and a blue-zigzagging line slices down the length of the painting. A hollow-centered yellow circle, also outlined in blue, is at the bottom center. After closer inspection, we find that the blue zigzagging line appears to be a cut separating the two halves that fit together like puzzle pieces.
Elizabeth Murray, Careless Love, 1995-1996, oil on canvas over shaped wooden support, The Aaron I. Fleischman Fund, 1996.28.1

Careless Love

Elizabeth Murray · 1995-1996 · oil on canvas over shaped wooden support ·  Accession ID  1996.28.1

Tom Wesselmann, Study for "Long Delayed Nude", 1973-1975, colored pencil, crayon, and graphite on wove tracing paper, Corcoran Collection (Gift of William H. G. FitzGerald, Desmond FitzGerald, and B. Francis Saul II), 2014.136.215.1

Study for "Long Delayed Nude"

Tom Wesselmann · 1973-1975 · colored pencil, crayon, and graphite on wove tracing paper ·  Accession ID  2014.136.215.1

Agnes Martin, Untitled #3, 1996, acrylic and graphite on canvas, The Nancy Lee and Perry Bass Fund, 1997.66.1

Untitled #3

Agnes Martin · 1996 · acrylic and graphite on canvas ·  Accession ID  1997.66.1

Robert Longo, The Forest (White House), 2019, charcoal on three sheets of paper mounted to aluminum, Gift of Clifford Ross, Photograph courtesy of the artist, 2023.6.2.a-c

The Forest (White House)

Robert Longo · 2019 · charcoal on three sheets of paper mounted to aluminum ·  Accession ID  2023.6.2.a-c

Malcolm Morley, Erotic Blando Fruto, 1989, oil on canvas, Gift of the Collectors Committee, 1991.184.1

Erotic Blando Fruto

Malcolm Morley · 1989 · oil on canvas ·  Accession ID  1991.184.1