This work consists of seven photographic prints on semi-transparent fabric, gradually increasing in length, that hang from the sloping ceiling of a stairway in the Frankel Wing. Each panel of fabric has a different image including, craggy rocks, tree branches against the sky, sunlight reflecting on water and marshland, flames of fire and cloud like formations. Four are black and white images and the three others are color prints.
These seven banners were created for the new Frankel wing of the museum and installed in the stairway between the second and third floors. Ruben's experimental approach to photography, with printing on semi-transparent fabric and sharp cropping of the images, creates a complex layered work in which multiple views reveal themselves as the viewer moves down the stairs. Though the subject of these scenes is naturalistic - rocks, water, fire, vegetation- there is an abstract quality to these forms.
This print depicts three black forms, in the shape of feathered wings, over a cream background with gray block lettering. The tips of the feathers have active brush strokes that give the appearance that they are moving in a circular, clockwise direction in the center of the print.
Gary Simmons lives and works in New York city. He is well-known for his "erasure" paintings created by smudging white chalk images on slate surfaces so that they have a ghostly effect. This lithograph was printed at the Tamarind Institute, University of New Mexico.
This screenprint depicts two sculptures jutting from a pool in the center right of the composition. The pool takes up the bottom half of the print, and shows the reflections from the top half of the scene. Two trees are at the left with a tall building in the background behind them, and a building with large windows takes up the background in the right two-thirds of the composition.
This screenprint shows a reflecting pool with artist Henry Moore's Reclining Figure (1965) sculpture outside of the Lincoln Center in New York City.
A black and white lithograph print of a row of houses. In the first house a figure looks out the half-door at two children outside, one in the shadows. Behind the first house are two more homes, and in the distance a crowd of people gather.
Square format photograph with brown/amber/white color tones. Two glass objects in the abstract shape of a human figure (shoulder, neck and tilted head only) are placed in the foreground with the heads tilted toward each other. On the right side there is a partial view of a table that is shown out of focus. Light is reflected on the rounded forms of the figures and their shadows are projected on a blank wall behind them. There is a large shadow profile of a man also projected onto the wall.
Following the death of his wife, in 1977 Kertész photographed objects in his New York City apartment using a Polaroid SX-70 camera. This photograph features a small glass bust that he said reminded him of his wife's features. In some cases he positioned it on his windowsill to capture the reflection of sunlight, but here he has used two figurines leaning toward each other and
This is a nighttime view of a city on water. Along the horizon can be seen numerous buildings and ships. At center left is a three-masted ship at anchor; along the right side are buildings, incuding domes and a tall tower. Throughout the image, there is an importance given to reflections and the nocturnal setting.
Whistler frequently employed plate tone to evoke the rich humidity of Venice's climate. This image showing a large ship at anchor in the mouth of the Grand Canal conveys the palpable atmosphere of nighttime in Venice.
Prior to Whistler's adoption of "artistic wiping" of the plates, such use of plate tone would have been the mark of someone not proficient in printing techniques. Whistler varied the inking of this plate, in particular, such that impressions are essentially monoprints. However, use of plate tone became more broadly embraced and the Venice prints became among the most sought after of his etchings.