When we received news and images describing Ricky Swallow's LACMA 2015 edition that will be released through Art Catalogues at the end of the month, I was curious about the chalky white wall relief that resembled a hyper cropped, folded shirt front. With the human form absent, the collar takes on a life of its own as it reaches out into space. Then, I saw the Ahmanson Foundation's gifted Bernini bust for the first time across the way in the Resnick Pavillion on view in the 50 for 50 exhibition. While associating the two works is like comparing apples to lemons, I could not help but to juggle Swallow's bronze collar with the several marble collars in Bernini's sculpture located in the same museum. While the sumptuousness of Bernini's expressive modelling flatters the unidentified subject, Swallow's collar is a view to adornment through a minimalist filter that is sly but powerfully stable and present. The most interesting outcome of this chain of visual events is that I probably would not have given Bernini's collars much attention had Swallow's collar/envelope not been created. The lesson learned is to hold no bars against comparing the contemporary with the historic--they are relatives to some degree. I look forward to seeing Swallow's Envelope/Collar Study After (D.G.) in person. Come by Art Catalogues in May and we will unveil one for you!