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New Art Acquisitions and Hidden Treasures

  • Carmen Imperial by Gonzalo Fuenmayor

    Gonzalo Fuenmayor
    Carmen Imperial, 2013
    Charcoal on paper
    Gift of Friends of Dana-Farber Cancer Institute


    Columbian born Gonzalo Fuenmayor combines familiar symbols of Latin America with those of Europe, melding jungle flora and fauna with ornate decorative objects. Unexpected combinations reference the cultural clash between the two regions and “magical realism”- a blend of the fantastic and the mundane.

    In Carmen Imperial, a towering headdress features a mythical pairing of opulent flowers and fruit, tropical birds and a crustacean. Carmen Miranda, the exuberant Brazilian entertainer, is the inspiration for this remarkable charcoal drawing.

    In 2004, Fuenmayor earned a BFA from the School of Visual Arts, New York and a MFA from the School of the Museum of Fine Arts, Boston (SMFA). He has exhibited throughout North and South America, and is the recipient of numerous awards including the SMFA’s prestigious Traveling Fellowship. Gonzalo Fuenmayor: Tropical Mythologies, the artist’s recent solo exhibition at the Museum of Fine Arts in Boston, was a compilation of work completed during his fellowship.

    Carmen Imperial can be viewed in the Longwood Center.

  • View more hidden treasures from our collection of more than 1,500 works of art.

  • Conductor Composer

    Anne Lilly
    Conductor/Composer, 2016
    Stainless steel, motor, battery and electronics
    38”h x 38”l x 38”d
    Gift of Jane B. Mayer & Robert J. Mayer, MD


    Kinetic sculptor Anne Lilly uses carefully engineered motion to shift and manipulate our perceptions of time, place and self, and her precisely constructed sculptures move in organic, fluid and mesmeric ways.

    Lilly holds a Bachelor of Architecture from Virginia Tech, and has taught at Massachusetts Institute of Technology (MIT) and Massachusetts College of Art. She received the Barnett and Analee Newman Foundation Grant Award for Lifetime Achievement, the Blanche E. Colman Grant, visiting artist positions at the Isabella Stuart Gardner Museum, MIT, and the Art Institute of Boston. Her work was included in the landmark 14-month exhibition of kinetic art at the MIT Museum, and her work is included in the collections of the DeCordova Museum, the New Britain Museum of American Art, the Middlebury College Museum of Art, and numerous corporate and private collectors internationally.

  • Conductor/Composer, 2016

  • Conductor/Composer was the culminating work in a series of pieces that investigated the movement of many linear elements stacked in parallel vertical layers. This intriguing sculpture, fabricated in machined stainless steel, is an exploration of the question of how to support the circle with only one spoke that does not reach the center of the circle. This configuration requires careful counterbalancing and creates significant visual asymmetry and irregular movement. The circles independently bob and float with unusual buoyancy and changing speeds.

    The title refers to friends of the artist who purchased the first of the edition of this work. The husband is the conductor of a local symphony, and the wife is a musician, music teacher and composer. Ms. Lilly felt that the sculpture’s motion corresponded meaningfully with thoughts about music, also with the idea of two lives mutually dedicated to music.

    For additional information, contact Elaine Tinetti, Art Program Administrator at 617-632-4458 or elaine_tinetti@dfci.harvard.edu.

  • In-Between Colors, 2015

    In-Between Colors

    Spencer Finch (American 1962-…)
    In-Between Colors, 2015
    Color aquatints
    13 x 12.25” each
    Edition 11/20
    Gift of the Friends of Dana-Farber Cancer Institute

    Spencer Finch (American 1962-…) Born in New Haven, Connecticut, Finch lives and works in Brooklyn. He received a degree in comparative literature from Hamilton College and a MFA from the Rhode Island School of Design.

    Finch’s work has been featured in solo exhibitions internationally, and included in the collections of the High Museum of Art, Atlanta; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Museum für Moderne Kunst, Frankfurt am Main; the Whitney Museum of American Art, New York and others.

    In June 2009, the artist’s work was exhibited at the International Venice Biennale in the featured Fare Mondi/Making Worlds show. More recently, Finch was commissioned to create a permanent installation for the September 11 Memorial and Museum. This extraordinary artwork, Trying to Remember the Color of the Sky on That September Morning, commemorates the victims of the 2001 attacks and the World Trade Center bombing.

    In-Between Colors

    In his renderings of light and color, Finch unites scientific method with a poetic sensibility. While his works appear abstract, they are, in fact, representational. In-Between Colors is the result of a collaboration between the artist and Paulson Bott Press.

    "On the first day in the studio, the artist responded to a sample step-etch diagram that PBP created to exemplify etches based on the length of time in the acid bath. He recognized that the plates could directly associate color with time and decided that he would make a set of images like the diagram. He then chose five colors from the spectrum and layered plates in two colors to create grids that visually described the various combinations of color and density.

    "The titles: Yellowish-Orange, Orangish-Red, Reddish-Violet, Violetish-Blue, Bluish-Green and Greenish-Yellow speak to the idea of trying to describe a color, that which is most often subjective and elusive." Rhea Fontaine, Paulson Bott Press

    This beautiful portfolio of six color aquatints is located on Dana 16.

    Other Works by Spencer Finch in the Dana-Farber Collection

    Summer Light and Winter Light (Emily Dickenson’s Garden), 2010 were commissioned for the Yawkey Center for Cancer Care and made possible by a generous donation from the Andrea Abraham Fund. Each light box re-creates the light in Emily Dickinson's garden in Amherst, Massachusetts-one in summer (YC1), the other in winter (YC2), and the colors used to generate the specific light conditions were taken from observations of the garden throughout the two seasons.


    Open Cube in Color on Color, 2004

    Open Cube in Color on Color

    © 2016 The LeWitt Estate / Artists Rights Society (ARS), New York


    Sol LeWitt (American 1928 – 2007)
    Open Cube in Color on Color, 2004
    Set of thirty linoleum cut prints
    14 x 14 inches each
    Gift of Marvin Goldenberg, Heidi & Jill Pearlman
    In honor of Doris Pearlman Goldenberg

    Sol LeWitt is considered one of the most important artists to have emerged from the Minimal and Conceptual art movements. After earning a BFA from Syracuse University in 1949, he worked for I. M. Pei as an architectural draftsman. Working with architects not only influenced LeWitt’s ideas concerning geometric precision and the viewer’s relationship to art, but also taught him that as an artist he could collaborate with others to realize his vision.

    LeWitt was originally associated with the Minimalist art movement due to his extensive use of geometric forms, namely the identical cubes in serial configurations that would become a signature form. He later became so closely associated with the Conceptual art movement that he is often called “the father of Conceptual Art.” As LeWitt stated in 1967, “In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.” Similar to the relationship between an architect and a construction crew, LeWitt espoused that an artist should be able to conceive a work and then delegate its actual production to others.

    Known for his sculpture, wall drawings, and works on paper, LeWitt’s work is included in the collections of many major museums including Tate Modern, London; Guggenheim Museum and Museum of Modern Art, New York; and the National Gallery of Art, Washington, D.C.

    In Open Cube in Color on Color, each of the cubes is outlined in rich primary colors, which switch back and forth from foreground to background. The dynamic whole is held together by the basic outline of the thirty cubes. This beautiful series is located in the Charles A. Dana Building at Dana-Farber Cancer Institute.


    BB 10/19/09-90649 (Big Bambú)

    BB 10/19/09-90649  (Big Bambu)


    Doug and Mike Starn
    BB 10/19/09-90649 (Big Bambú)
    Color photograph
    48 x 48 inches
    Epson K3 Ultrachrome inkjet print on gelatin-coated Zerkall paper
    Location: Longwood Center, research space

    Identical twins, Doug and Mike Starn (American,1961- ...) graduated from the School of the Museum of Fine Arts in 1985 and only two years later received international attention at the 1987 Whitney Biennial. For nearly two decades, the Starn twins have been known for their conceptual work with photography that combines traditionally independent disciplines such as sculpture and architecture, most notably their Big Bambú series.

    Big Bambú project
    The Starn twins and their crew of rock climbers lashed together more than 7,000 bamboo poles, a performative architecture forming a section of seascape with a 70’ cresting wave above Central Park. Big Bambú suggests the complexity and energy of an ever-growing and changing living organism.

    Other iterations have been exhibited in prominent locations including the Naoshima Museum Setouchi Triennial in Japan and the Musei Macro Testaccio in Rome, as part of the 54th Venice Biennal.

    BB 10/19/09-90649  (Big Bambu)
    As a continuation of this project, the Starns made a series of photographs in their iconic style that were then taped and pinned together in a frame. The hand manipulation of these photographs is consistent with the style of photography for which they have become famous. One of these photographs, BB 10/19/09-90649, now resides within Dana-Farber space in the Longwood Center.