About 40 years ago, Progressive’s chief executive officer started a contemporary art collection to liven up employees’ workspaces, communicate respect for creativity and support emerging artists.
Today, there are more than 7,500 works in the Progressive Art Collection, and it’s one of the largest of its kind in the world. The collection promotes innovation and change, and challenges all who see it to consider new ideas and alternative perspectives.
The book, “ArtWorks: The Progressive Collection,” showcases the work of nearly 300 artists whose works are part of our collection. And now, with the Progressive Art App for iPhone®, iPad® and iPod touch®, you can also use your iPhone to explore a diverse selection of works from the collection and learn about the artists, who include:
Vik Muniz
Individuals (From Pictures with Chocolate)
1998
Vik Muniz creates crafty, visual puzzles to toy with our perception of reality. Critic Jori Finkel writes, "[Muniz] can start with the image of anonymity—as in this picture of a large crowd, called Individuals, and glamorize it." In this photograph, Muniz used Bosco chocolate syrup, applied like paint with a stickpin.
Lisa Ruyter
Henry Hill
1996
Lisa Ruyter's paintings are based on images from pop culture and photographs, taken by the artist, that have formed a map of her movements around the globe as well as her personal development. She "transcribes" the photographs onto the picture plane, selecting the areas of the image that she wishes to render and leaving out details she thinks trivial. After finishing the drawing, Ruyter maps out colors within its structure; then, usually in a single sitting, she redraws the lines with a paint pen, bringing the image into sharp focus.
Kehinde Wiley
Passing/Posing
2003
Kehinde Wiley draws from Renaissance and French Rococo painting, depicting young black men in iconic poses that reference religious and historical figures. His models are young men he meets on the street. Brian Keith Jackson of Vibe magazine writes, "The portraits examine not only how African-American males are viewed by others, but also how they see themselves. Wiley hones in on their desire to pose, to be seen, to keep it real, but above all, to represent."
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