id:			161237
accession number:	1999.326.a
share license status:	Copyrighted
url:			https://clevelandart.org/art/1999.326.a
updated:		2023-04-26 11:23:58.388000

Stolen Faces, 1991. Annette Lemieux (American, b. 1957), I.C. Editions. Color offset lithograph; sheet: 76.5 x 56 cm (30 1/8 x 22 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund 1999.326.a

title:				Stolen Faces
title in original language:	
series:				
series in original language:	
creation date:			1991
creation date earliest:		1991
creation date latest:		1991
current location:		
creditline:			John L. Severance Fund
copyright:			

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culture:	America, 20th century
technique:	color offset lithograph
department:	Prints
collection:	PR - Lithograph
type:		Print
find spot:	
catalogue raisonne: 

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CREATORS

* Annette Lemieux (American, b. 1957)  - artist

* I.C. Editions  - published by

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measurements: Sheet: 76.5 x 56 cm (30 1/8 x 22 1/16 in.)
state of the work:	
edition of the work: 	26 plus 5 artist's proofs

support materials:

	description:	cream-colored Arches 88 wove paper
	watermarks:	

inscriptions:

	inscription:	signed, numbered 18/26, and dated 1991 in graphite on verso
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		From Rembrandt to Rauschenberg:  Recently Acquired Prints
	opening date:   2000-09-17T00:00:00
	<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).

	title:		Fresh Prints: The Nineties to Now
	opening date:   2015-03-22T00:00:00
	<i>Fresh Prints: The Nineties to Now</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-July 26, 2015).

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LEGACY EXHIBITIONS

* The Cleveland Museum of Art (9/17/2000 - 11/26/2000); "From Rembrandt to Rauschenberg:  Recently Acquired Prints."<br>The Cleveland Museum of Art (3/22/2015 - 7/26/2015); "Fresh Prints: The Nineties to Now"

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PROVENANCE

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fun fact:


digital description:


wall description:
Stolen Faces acknowledges the ubiquity of the photograph in our experience of the modern world.  The "pixelated" faces of anonymous soldiers are presented so that they resemble people on television news shows who wish to hide their identities.  A war photograph is represented on the right panel as the image would be seen on a black-and-white television while on the left is its color television counterpart.  The central panel of the triptych further dramatizes the anonymity of war with an image of only the pixelated heads of soldiers, disembodied, as if vaporized by the technologies of war, photography, and electronic mass media.
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RELATED WORKS

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CITATIONS

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IMAGES