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: --- culture: America, 20th century technique: color offset lithograph department: Prints collection: PR - Lithograph type: Print find spot: catalogue raisonne: --- CREATORS * Annette Lemieux (American, b. 1957) - artist * I.C. Editions - published by --- 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: --- CURRENT EXHIBITIONS title: From Rembrandt to Rauschenberg: Recently Acquired Prints opening date: 2000-09-17T00:00:00 From Rembrandt to Rauschenberg: Recently Acquired Prints. 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 Fresh Prints: The Nineties to Now. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-July 26, 2015). --- LEGACY EXHIBITIONS * The Cleveland Museum of Art (9/17/2000 - 11/26/2000); "From Rembrandt to Rauschenberg: Recently Acquired Prints."
The Cleveland Museum of Art (3/22/2015 - 7/26/2015); "Fresh Prints: The Nineties to Now" --- PROVENANCE --- 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. --- RELATED WORKS --- CITATIONS --- IMAGES