{"data":[{"id":"14723","type":"artist","attributes":{"id":14723,"topgoose_id":1288,"tms_id":14723,"display_name":"Tala Madani","sort_name":"Madani Tala","display_date":"1981–","begin_date":"1981","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500356201","wikidata_id":"Q4703730","popularity":0.11014492753623188,"created_at":"2017-08-30T16:17:17.000-04:00","updated_at":"2026-08-09T06:35:42.327-04:00","links":{"artworks":"/api/artists/14723/artworks","exhibitions":"/api/artists/14723/exhibitions"}}},{"id":"11998","type":"artist","attributes":{"id":11998,"topgoose_id":1285,"tms_id":11998,"display_name":"Anissa Mack","sort_name":"Mack Anissa","display_date":"1970","begin_date":"1970","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":null,"wikidata_id":"Q19802434","popularity":0.07246376811594203,"created_at":"2017-08-30T16:17:15.000-04:00","updated_at":"2026-08-09T06:32:14.092-04:00","links":{"artworks":"/api/artists/11998/artworks","exhibitions":"/api/artists/11998/exhibitions"}}},{"id":"12714","type":"artist","attributes":{"id":12714,"topgoose_id":1283,"tms_id":12714,"display_name":"George Maciunas","sort_name":"Maciunas George","display_date":"1931–1978","begin_date":"1931","end_date":"1978","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500075547","wikidata_id":"Q455931","popularity":0.14492753623188406,"created_at":"2017-08-30T16:17:10.000-04:00","updated_at":"2026-08-09T06:30:06.467-04:00","links":{"artworks":"/api/artists/12714/artworks","exhibitions":"/api/artists/12714/exhibitions"}}},{"id":"817","type":"artist","attributes":{"id":817,"topgoose_id":1282,"tms_id":817,"display_name":"Sheldon Machlin","sort_name":"Machlin Sheldon","display_date":"1918–1975","begin_date":"1918","end_date":"1975","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500063134","wikidata_id":"Q77353055","popularity":0.06086956521739131,"created_at":"2017-08-30T16:17:09.000-04:00","updated_at":"2026-08-09T06:29:03.785-04:00","links":{"artworks":"/api/artists/817/artworks","exhibitions":"/api/artists/817/exhibitions"}}},{"id":"816","type":"artist","attributes":{"id":816,"topgoose_id":1281,"tms_id":816,"display_name":"Stanton Macdonald-Wright","sort_name":"Macdonald-Wright Stanton","display_date":"1890–1973","begin_date":"1890","end_date":"1973","biography":"\u003cp\u003eIn 1913 Stanton Macdonald-Wright established himself as a pioneer of modernist abstraction. That year, he debuted an abstract, kaleidoscopic method of painting that he had developed together with his colleague \u003ca href=\"/artists/1139\"\u003eMorgan Russell\u003c/a\u003e while living in Paris. They called their movement Synchromism, a term that means \u003cem\u003ewith\ncolor\u003c/em\u003e. Rooted in various color theories, particularly those of Macdonald-Wright and Russell’s teacher, the Canadian artist Ernest Percyval Tudor-Hart, Synchromism identified color as the generating element of form, volume, and movement. For both artists, color was an abstract tool for conveying mood and emotion; as with musical scales, a spectrum of colors could be combined to achieve a harmonious arrangement. Macdonald-Wright and Russell earned critical acclaim following their landmark Synchromist exhibitions in Paris and Munich in 1913, but the advent of World War I led to the end of their partnership.\u003c/p\u003e\u003cp\u003eBy 1916, Macdonald-Wright was\nback in the United States, where he\neschewed his earlier nonobjective style\nin favor of semiabstract, vibrantly\nhued compositions with suggestions of\nfigurative imagery, such as\u003ca href=\"/collection/works/1521\"\u003e\u003cem\u003e\u0026nbsp;Oriental –\nSynchromy in Blue-green\u003c/em\u003e\u003c/a\u003e. Years later, the\nartist recalled that this painting was\nbased on a group of figures smoking opium,\na subject related to his incipient interest\nin Eastern aesthetics and philosophy\n(he would spend the later decades of his\ncareer teaching these subjects at the\nUniversity of California, Los Angeles). As in\na hazy, drug-induced reverie, the hints of\nfigurative imagery—a face, an arm, a thigh—\nseem to appear momentarily before\ndissolving into the layered, shifting planes\nof form and gently feathered hues.\u003c/p\u003e","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500007154","wikidata_id":"Q2348151","popularity":0.3217391304347826,"created_at":"2017-08-30T16:17:08.000-04:00","updated_at":"2026-08-09T06:28:12.777-04:00","links":{"artworks":"/api/artists/816/artworks","exhibitions":"/api/artists/816/exhibitions"}}},{"id":"815","type":"artist","attributes":{"id":815,"topgoose_id":1279,"tms_id":815,"display_name":"Kim MacConnel","sort_name":"MacConnel Kim","display_date":"1946–","begin_date":"1946","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500030420","wikidata_id":"Q6409101","popularity":0.13623188405797101,"created_at":"2017-08-30T16:17:06.000-04:00","updated_at":"2026-08-09T06:26:04.452-04:00","links":{"artworks":"/api/artists/815/artworks","exhibitions":"/api/artists/815/exhibitions"}}},{"id":"10813","type":"artist","attributes":{"id":10813,"topgoose_id":1278,"tms_id":10813,"display_name":"Nathan Mabry","sort_name":"Mabry Nathan","display_date":"1978–","begin_date":"1978","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500122928","wikidata_id":"Q6969219","popularity":0.028985507246376812,"created_at":"2017-08-30T16:17:06.000-04:00","updated_at":"2026-08-09T06:25:03.320-04:00","links":{"artworks":"/api/artists/10813/artworks","exhibitions":"/api/artists/10813/exhibitions"}}},{"id":"14718","type":"artist","attributes":{"id":14718,"topgoose_id":1277,"tms_id":14718,"display_name":"Maha Maamoun","sort_name":"Maamoun Maha","display_date":"1972–","begin_date":"1972","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500356085","wikidata_id":"Q3843417","popularity":0.017391304347826087,"created_at":"2017-08-30T16:17:05.000-04:00","updated_at":"2026-08-09T06:24:03.983-04:00","links":{"artworks":"/api/artists/14718/artworks","exhibitions":"/api/artists/14718/exhibitions"}}},{"id":"958","type":"artist","attributes":{"id":958,"topgoose_id":1276,"tms_id":958,"display_name":"Jim Nutt","sort_name":"Nutt Jim","display_date":"1938–","begin_date":"1938","end_date":"0","biography":"\u003cp\u003eJim Nutt is among the best known of a\nsmall coterie of artists who studied\nat the School of the Art Institute of Chicago\nand began exhibiting together in 1965.\nCalling themselves the Hairy Who, they\ndisbanded by 1968 and are today considered\npart of the larger, unofficial group of artists\nreferred to as the Chicago Imagists. Inspired\nby some of the same sources—cartoons,\nadvertisements, pulp magazines—as the\nPop art movement then in full flourish in New\nYork, but forgoing the cool ironies of \u003ca href=\"/artists/1384\"\u003eAndy\nWarhol\u003c/a\u003e or \u003ca href=\"/artists/779\"\u003eRoy Lichtenstein\u003c/a\u003e, the Hairy Who\nproduced ribald, fantastical, humorous works\nof high-key color and exacting craftsmanship.\nNutt’s figurative work is at once scabrous\nand learned, synthesizing influences\nas diverse as European Expressionism and\nSurrealism with comics and folk art.\u003c/p\u003e\u003cp\u003eThe early work \u003ca href=\"/collection/works/229\"\u003e\u003cem\u003eShe’s Hit\u003c/em\u003e\u003c/a\u003e exemplifies what one critic described as “Nutt’s frenzied psychopathology of everyday visual life.” Its bulbous, epicene figure is misshapen, even abject, a hodgepodge of parts and signifiers that seems to be coalescing and falling apart at the same time. Some elements bespeak a lively period vernacular— tattoos, dyed hair, costume jewelry— while others, including knives and the attack implied by the title phrase, introduce an unsettling violence. Nutt’s method, typical of his early paintings, intensifies the work’s compositional density and sense of immediacy: he painted on the back side of a transparent plexiglass support, a demanding process that leaves little room for correction or modeling in depth.\u003c/p\u003e","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500018267","wikidata_id":"Q6197218","popularity":0.2463768115942029,"created_at":"2017-08-30T16:16:03.000-04:00","updated_at":"2026-08-09T06:23:14.370-04:00","links":{"artworks":"/api/artists/958/artworks","exhibitions":"/api/artists/958/exhibitions"}}},{"id":"957","type":"artist","attributes":{"id":957,"topgoose_id":1274,"tms_id":957,"display_name":"David Novros","sort_name":"Novros David","display_date":"1941–","begin_date":"1941","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500031057","wikidata_id":"Q17478646","popularity":0.1681159420289855,"created_at":"2017-08-30T16:16:01.000-04:00","updated_at":"2026-08-09T06:21:03.526-04:00","links":{"artworks":"/api/artists/957/artworks","exhibitions":"/api/artists/957/exhibitions"}}},{"id":"4569","type":"artist","attributes":{"id":4569,"topgoose_id":1272,"tms_id":4569,"display_name":"Dorothy Norman","sort_name":"Norman Dorothy","display_date":"1905–1997","begin_date":"1905","end_date":"1997","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500071933","wikidata_id":"Q5298570","popularity":0.463768115942029,"created_at":"2017-08-30T16:15:54.000-04:00","updated_at":"2026-08-09T06:19:04.051-04:00","links":{"artworks":"/api/artists/4569/artworks","exhibitions":"/api/artists/4569/exhibitions"}}},{"id":"4112","type":"artist","attributes":{"id":4112,"topgoose_id":1271,"tms_id":4112,"display_name":"Barbara Norfleet","sort_name":"Norfleet Barbara","display_date":"1926–","begin_date":"1926","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500468962","wikidata_id":"Q42313488","popularity":0.1681159420289855,"created_at":"2017-08-30T16:15:54.000-04:00","updated_at":"2026-08-09T06:18:03.781-04:00","links":{"artworks":"/api/artists/4112/artworks","exhibitions":"/api/artists/4112/exhibitions"}}},{"id":"16918","type":"artist","attributes":{"id":16918,"topgoose_id":1270,"tms_id":16918,"display_name":"Richard Nonas","sort_name":"Nonas Richard","display_date":"1936–2021","begin_date":"1936","end_date":"2021","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500092906","wikidata_id":"Q2154642","popularity":0.05217391304347826,"created_at":"2017-08-30T16:15:48.000-04:00","updated_at":"2026-08-09T06:17:03.621-04:00","links":{"artworks":"/api/artists/16918/artworks","exhibitions":"/api/artists/16918/exhibitions"}}},{"id":"955","type":"artist","attributes":{"id":955,"topgoose_id":1269,"tms_id":955,"display_name":"Kenneth Noland","sort_name":"Noland Kenneth","display_date":"1924–2010","begin_date":"1924","end_date":"2010","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500003418","wikidata_id":"Q527001","popularity":0.14202898550724638,"created_at":"2017-08-30T16:15:47.000-04:00","updated_at":"2026-08-09T06:16:22.051-04:00","links":{"artworks":"/api/artists/955/artworks","exhibitions":"/api/artists/955/exhibitions"}}},{"id":"3439","type":"artist","attributes":{"id":3439,"topgoose_id":1268,"tms_id":3439,"display_name":"Cady Noland","sort_name":"Noland Cady","display_date":"1956–","begin_date":"1956","end_date":"0","biography":"\u003cp\u003eIn the 1980s and 1990s Cady Noland\ncreated a group of highly influential\nsculptures, sourcing her iconography and\nobjects from various facets of American\nculture to reveal the dark side of the\nAmerican psyche. Among these works\nwere a series of metal sculptures\nthat reproduced newspaper photographs\nof news figures, including Lee Harvey\nOswald and Patty Hearst. \u003ca href=\"/collection/works/34848\"\u003e\u003cem\u003eTanya as a Bandit\n\u003c/em\u003e\u003c/a\u003eis one of two such sculptures to feature\nHearst, the newspaper heiress who\nwas kidnapped in 1974 by the self-styled\nrevolutionary group the Symbionese\nLiberation Army (SLA). During her captivity,\nshe joined their movement and went by\nthe name Tania (given an alternate spelling\nin the title of this work). Noland’s\nsculpture features an iconic photograph\nof Hearst gripping a machine gun and\nstanding in front of the SLA’s symbol of a\nseven-headed snake with annotated\nnewswire text detailing her involvement\nin a sporting goods store heist running\nbelow. Atop the sculpture Noland has placed\na bandana—a classic American accessory\noften associated with cowboys and bandits—\ntied around two of the snakes’ heads. As\nNoland later explained: “I became interested\nin psychopaths . . . because they objectify\npeople in order to manipulate them.\nBy extension they represent the extreme\nembodiment of a culture’s proclivities;\nso psychopathic behavior provides useful\nhighlighted models to use in search of\ncultural norms. As does celebrity.”\u003c/p\u003e","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500116157","wikidata_id":"Q437729","popularity":0.14782608695652175,"created_at":"2017-08-30T16:15:45.000-04:00","updated_at":"2026-08-09T06:15:01.319-04:00","links":{"artworks":"/api/artists/3439/artworks","exhibitions":"/api/artists/3439/exhibitions"}}},{"id":"954","type":"artist","attributes":{"id":954,"topgoose_id":1267,"tms_id":954,"display_name":"Isamu Noguchi","sort_name":"Noguchi Isamu","display_date":"1904–1988","begin_date":"1904","end_date":"1988","biography":"\u003cp\u003eOver the course of his prolific, six-decade\ncareer, Isamu Noguchi explored nearly\nevery available mode of art making.\nHe produced drawings, sculptures, ceramics,\nand photographs, but also designed stage\nsets, playgrounds, furniture, and garden\nlandscapes. In 1944 Noguchi began\nconstructing a series of abstract sculptures\ncomprised of flat, interlocking components.\nHis encounter with the organic shapes\n(or “biomorphs”) that Surrealist artists were\nusing to visually evoke dream states and\nthe unconscious influenced his embrace of\nthese curved, subtly anthropomorphic forms.\n\u003c/p\u003e\u003cp\u003eNoguchi developed a step-by-\nstep process that involved drawing, model\nmaking, collage, and enlargement to\ncreate his sculptures. \u003ca href=\"/collection/works/2741\"\u003e\u003cem\u003eWork Sheets for\nSculpture\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003edemonstrates a preliminary\nstage of this process. Noguchi first sketched\nshapes suggestive of bones and\nboomerangs on black paper, cut them out,\nand then arranged them into small models.\nThis technique allowed the artist to test\nthe configurations’ stability and make any\nadjustments prior to executing the final\nstructures. He then mounted the excised\ngraph paper, which he used to calculate the\nmeasurements required for enlarging\nand transferring elements, onto slabs of\nslate, marble, or wood. For \u003ca href=\"/collection/works/1520\"\u003e\u003cem\u003eHumpty Dumpty\u003c/em\u003e\u003c/a\u003e,\nNoguchi selected ribbon slate and\ncombined the five interlocking units into an\nupright, freestanding sculpture. Instead\nof affixing the pieces with adhesive, dowels,\nor pins, he manipulated properties of balance\nand gravity. While one segment hangs,\nanother offers crucial support. The result\nsuggests a state of precariousness; removing\neven one element risks inciting collapse.\nThe work’s title underscores the sculpture’s\nfragility: it invokes the familiar children’s\nnursery rhyme of the same name, in which\n“all the king’s horses and all the king’s\nmen / couldn’t put Humpty together again.”\nNoguchi’s interpenetrating sculptures—made\nin the years during and following World\nWar II—offer a potent reminder of humanity’s\ndelicate interconnectedness.\u003c/p\u003e","on_view":true,"artport":false,"biennial":true,"collection":true,"ulan_id":"500008602","wikidata_id":"Q442628","popularity":0.6927536231884058,"created_at":"2017-08-30T16:15:41.000-04:00","updated_at":"2026-08-09T06:14:04.668-04:00","links":{"artworks":"/api/artists/954/artworks","exhibitions":"/api/artists/954/exhibitions"}}},{"id":"9022","type":"artist","attributes":{"id":9022,"topgoose_id":1266,"tms_id":9022,"display_name":"John Alexander Noble","sort_name":"Noble John Alexander","display_date":"1913–1983","begin_date":"1913","end_date":"1983","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":null,"wikidata_id":"Q43134765","popularity":0.02608695652173913,"created_at":"2017-08-30T16:15:40.000-04:00","updated_at":"2026-08-09T06:13:11.885-04:00","links":{"artworks":"/api/artists/9022/artworks","exhibitions":"/api/artists/9022/exhibitions"}}},{"id":"953","type":"artist","attributes":{"id":953,"topgoose_id":1265,"tms_id":953,"display_name":"John Noble","sort_name":"Noble John","display_date":"1874–1934","begin_date":"1874","end_date":"1934","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500001171","wikidata_id":"Q6250561","popularity":0.0782608695652174,"created_at":"2017-08-30T16:15:39.000-04:00","updated_at":"2026-08-09T06:12:03.584-04:00","links":{"artworks":"/api/artists/953/artworks","exhibitions":"/api/artists/953/exhibitions"}}},{"id":"7335","type":"artist","attributes":{"id":7335,"topgoose_id":1264,"tms_id":7335,"display_name":"Nicholas Nixon","sort_name":"Nixon Nicholas","display_date":"1947–","begin_date":"1947","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500037045","wikidata_id":"Q2309478","popularity":0.12753623188405797,"created_at":"2017-08-30T16:15:34.000-04:00","updated_at":"2026-08-09T06:11:18.664-04:00","links":{"artworks":"/api/artists/7335/artworks","exhibitions":"/api/artists/7335/exhibitions"}}},{"id":"952","type":"artist","attributes":{"id":952,"topgoose_id":1263,"tms_id":952,"display_name":"Costantino Nivola","sort_name":"Nivola Costantino","display_date":"1911–1988","begin_date":"1911","end_date":"1988","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":null,"wikidata_id":"Q1136448","popularity":0.11594202898550725,"created_at":"2017-08-30T16:15:33.000-04:00","updated_at":"2026-08-09T06:10:04.390-04:00","links":{"artworks":"/api/artists/952/artworks","exhibitions":"/api/artists/952/exhibitions"}}},{"id":"11193","type":"artist","attributes":{"id":11193,"topgoose_id":1262,"tms_id":11193,"display_name":"Hermann Nitsch","sort_name":"Nitsch Hermann","display_date":"1938–2022","begin_date":"1938","end_date":"2022","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500097958","wikidata_id":"Q651376","popularity":0.06666666666666667,"created_at":"2017-08-30T16:15:32.000-04:00","updated_at":"2026-08-09T06:09:04.179-04:00","links":{"artworks":"/api/artists/11193/artworks","exhibitions":"/api/artists/11193/exhibitions"}}},{"id":"951","type":"artist","attributes":{"id":951,"topgoose_id":1261,"tms_id":951,"display_name":"Gladys Nilsson","sort_name":"Nilsson Gladys","display_date":"1940–","begin_date":"1940","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500064364","wikidata_id":"Q5566442","popularity":0.08985507246376812,"created_at":"2017-08-30T16:15:32.000-04:00","updated_at":"2026-08-09T06:08:04.760-04:00","links":{"artworks":"/api/artists/951/artworks","exhibitions":"/api/artists/951/exhibitions"}}},{"id":"950","type":"artist","attributes":{"id":950,"topgoose_id":1260,"tms_id":950,"display_name":"Henry Niese","sort_name":"Niese Henry","display_date":"1924–2016","begin_date":"1924","end_date":"2016","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":null,"wikidata_id":"Q21938054","popularity":0.1391304347826087,"created_at":"2017-08-30T16:15:31.000-04:00","updated_at":"2026-08-09T06:07:09.831-04:00","links":{"artworks":"/api/artists/950/artworks","exhibitions":"/api/artists/950/exhibitions"}}},{"id":"4558","type":"artist","attributes":{"id":4558,"topgoose_id":1259,"tms_id":4558,"display_name":"Nic Nicosia","sort_name":"Nicosia Nic","display_date":"1951–","begin_date":"1951","end_date":"0","biography":"","on_view":false,"artport":false,"biennial":true,"collection":true,"ulan_id":"500116272","wikidata_id":"Q16149846","popularity":0.08115942028985507,"created_at":"2017-08-30T16:15:30.000-04:00","updated_at":"2026-08-09T06:06:03.513-04:00","links":{"artworks":"/api/artists/4558/artworks","exhibitions":"/api/artists/4558/exhibitions"}}},{"id":"949","type":"artist","attributes":{"id":949,"topgoose_id":1258,"tms_id":949,"display_name":"Kimon Nicolaides","sort_name":"Nicolaides Kimon","display_date":"1892–1938","begin_date":"1892","end_date":"1938","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500053866","wikidata_id":"Q6410222","popularity":0.057971014492753624,"created_at":"2017-08-30T16:15:30.000-04:00","updated_at":"2026-08-09T06:05:04.304-04:00","links":{"artworks":"/api/artists/949/artworks","exhibitions":"/api/artists/949/exhibitions"}}},{"id":"948","type":"artist","attributes":{"id":948,"topgoose_id":1257,"tms_id":948,"display_name":"Robert Nickle","sort_name":"Nickle Robert","display_date":"1919–1980","begin_date":"1919","end_date":"1980","biography":"","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500011208","wikidata_id":"Q7348036","popularity":0.0927536231884058,"created_at":"2017-08-30T16:15:29.000-04:00","updated_at":"2026-08-09T06:04:12.169-04:00","links":{"artworks":"/api/artists/948/artworks","exhibitions":"/api/artists/948/exhibitions"}}},{"id":"9356","type":"artist","attributes":{"id":9356,"topgoose_id":1256,"tms_id":9356,"display_name":"Ben Nicholson","sort_name":"Nicholson 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