Oval-shaped piece of veined, green Swedish marble standing on one of its narrow ends. Three holes of different sizes penetrate into the object's center. The holes are painted respectively in a semi-gloss black and matte white.
An example of Hepworth's monumental approach to geometric abstraction. Hepworth was intrigued with the way the variegated color of the marble interacts with the biomoprhic and landscape-like curves of the piece. The holes add an aspect of meditation on space to the object.
Flat, colorful, overlapping geometric and biomorphic abstract forms
A non-representional composition of colorful, flat, overlapping geometric and biomorphic abstract forms. The painting is about the way these forms interrelate to create a balanced and rhythmic composition.
A small, biomorphically abstract sculpture of bronze grows from a wooden base. Bulbous at the bottom, the shape stretches and narrows in the middle and then expands into a larger shape from which two rounded points rise.
An example of Jean (Hans) Arp's interest in biomorphic abstraction. In its attention to basic, generic biomorphic shapes the piece is a kind of study of primordial organic forms, forms suggestive of all manner of life but not representing anything specifically.
Thin, double-side, H-shaped bronze sculpture. Each side is made up of a collection of rough rectangle shapes overlapping and butting up against one another. Two rectangle-shaped openings penetrate the piece.
The artist is interested in the synthesis between idea, material, and form in abstract sculpture.
A small polished bronze sculpture of a biomorphic form rising gracefully from a small base. Where it contacts the base, the form stands on two leg-like structures. The form rises from there, narrows, then opens up into a wider, more oblong shape at the top.
An early example of Jean (Hans) Arp's interest in biomorphic abstraction. In its attention to basic, generic biomorphic shapes the piece is a kind of study of primordial organic forms, forms suggestive of all manner of life but not representing anything specifically.
Concentric lines of bright red alternate with lines of blue and green to create an optical illusion of receeding squares. The juxtaposition of these colors also creates an appearance of intersecting orange lines and hues of purple.
Richard Anuszkiewicz was a pioneer in the development of American Op (short for Optical) Art in the 1960s, a movement concerned with exploring the optical effects of perceptual processes. Anuszkiewicz, who studied under color theorist Josef Albers, was particularly interested in the effects that neighboring colors could have on one another. Mercurius in the Vessel demonstrates the dazzling chromatic vibration that can occur when complementary warm and cool colors (such as red and green) meet. The painting’s repeated, concentric geometric shapes accentuate the ambiguity this juxtaposition of colors creates between receding and projecting space. Although his rigidly structured compositions are carefully planned, for Anuszkiewicz such effects are as emotional as they are scientific. He has said, “I’m interested in making something romantic out of a very, very mechanistic geometry.”
Three forms that are simulatenously organic and sculptural stand in a line. At their base they appear sculptural or vessel-like, but further up they become more organic and cactus-like in their form. The table and background are yellow. The forms are executed mostly with white, off-white, and gray.
Sutherland's unruly, partly sculptural, partly organic forms appear to take unexpected shapes on their own. The ferile organicism suggests the non-humanity of nature, but this organicism is connected to the human, rational world via the sculptural.
On a narrow canvas a background of overlapping, rounded segments of blues, grays, and greens suggests rock. These layers build up to warmer colors, and on the surface of the layers are several shapes executed in white line suggestive of cave-painting. The shapes looks like microscopic organisms and are connected by the nerve-like white lines. As a whole, the visual elements are also suggestive of a seated figure, and the white shapes then appear as organs.
Kamrowski's work creates a self-contained other-world of shapes and colors suggestive of microscopic life, terrestrial existence, and the cosmos. The execution also suggests primitive cave art, linking the work to a commentary on the roots of the human psyche. This piece can also be read as presenting the viewer a human form, perhaps the student of the title, whose body is composed of the lithic sections of cold colors and whose physical and psychical inner workings are represented in the white shapes that are connected by the nerve-like lines. The figure appears to be seated in a pose of meditation and the white shapes appear to occupy the shakra power centers described in Hinduism
Two tall, rectangular intersecting planes, one black and one white, create the appearance of a tall, minimal structure. Vertical lines of black and white add to the structure, which at its base projects slightly into a rough square shape that seems to delineate a kind of ground or base. The space around the structure is ochre.
The basic forms and lines of this piece consider fundamental formal relationships and are in dialogue with Bauhaus ideas about architecture and industrial design.
An elongated figure with minimal features stands on a small rectangular base with left foot slightly forward. The metal has a texture resembling molten wax.
Giacomett's tall thin figures visualize the fragility and the resilience of the human body in the aftermath of the World Wars and the Holocaust. Influenced by Sartre and Existentialism, Giacometti wanted to visually express the metaphysical desolation and despair that Existentialism tried to recognize and address.
A bronze sculpture of an abstracted male figure in motion. His knees are bent as he leans into his movement. His arms are tucked along his torso, and he appears to be propelling his movement with great force. The surface is a bright bronze color but with some patina.
A Futurist sculpture about the relationship between mass and movement, Mino Rosso's piece is also involved with Futurist representations of manliness--strength, mobility, and stability.
A vast surface of orange yields in the very bottom of the painting to a swath of yellow, under which there is a line of white and green, and under that a thin black line.
The subject matter of this Color Field painting is primarily the visual experience of the colors, their relationships to one another. With its title, "Sunset Corner," the painting prompts the viewer to reflect on the oranges and yellows of sunset and the vastness of the sky.
A black granite abstract sculpute. Two "legs" rise up toward one another to meet at a point, making a basic triangle shape. At the bottom of the "legs," two horizontal "feet" protrude away from the object's center and end in four-sided points.
Tony Smith's abstract sculpture resonates between the mathematical and the organic, the material and the spiritual. It also shows some of the architectural sense that came from his early career as an architect. Solid and powerful, the piece nevertheless exhibits a kind of movement and flux as viewers move around it.
folded kraft paper marked with blue pencil affixed to linen
The “golden section” is when the ratio of the whole line (A) to the large segment (B) is the same as the ratio of the large segment (B) to the small segment (C); ie, A is to B as B is to C. Rockburne derives her rectangular golden sections from the square. The blue pencil lines follow the principles of dynamic symmetry.
A highly abstracted photographic composition in which the viewer catches glimpses of a female nude seen in the stomach at center and the keyhole glimpse of a breast to the viewer's right; the overall composition is dark with patterned, textured overlapping fabrics
A highly abstracted figure of a reclining nude female holding a mandolin. The figure and the instrument share the same organic form and suggest sensuality and harmony.
A spare and restrained abstract composition, built up out of layers of mostly translucent basic geometric forms. The grey tones of the background are created with large rectangle shapes. In the upper part of the piece is a light colored circle, with a brighter circle inside it. Both are crossed by an axis of bright, thin orange lines. On the left, the point of a triangle protrudes from the edge. It is covered by a faint gray trapezoidal shape. Three small black semi-circles are also visible: one along the lines inside the circles; the other two along the trapezoidal shape and just beneath the triangle.
A restrained formal abstract composition, the subject of the piece is the relationship between the shapes and colors. Moholy-Nagy theorized that in the visual realm, space, time, mass, and light can become like one perceptible substance. In this piece we can also see the artist's interest in the spare forms and clean lines of industrial design, an interest of the Bauhaus school where he taught in the twenties.
Made of thick steel, this sculpture has two very distinct halves. One on side, the thick sheet of steel gracefully curves around and back on itself, making loops and rounded edges. On the reverse, the steel is angular, jagged, and sharp, jutting into the spaces in the sculpture's interior and the space around the whole. At the very center of the piece, along the implied dividing line between the two sides, is a relatively small box.
The subjects of Lucas Samara's steel sculpture are in part formal: the encounter between the two different halves, the curved and the jagged; the different relationships between the material and these distinct forms. The box at the center of the divided forms and in the title, "Stiff Box 12," suggests other thematic content: a kind of Pandora's box idea of chaos and strife springing from the opened container; a contest over possession of an object.
The drawing explores several manifestations of the circular opening that would become a recurring motif in her sculpture after 1959. The effect Bontecou seems to pursue is the sense that a much deeper space lies behind the paper. The forms have a distinctly organic, extraterrestrial feel to them.
Verso, label: The Pace Gallery/32 East 57th Street/New York, NY 10022 [black letterpress, all one line]/NEVELSON Black Excursion 13/#1922 1969 Black Wood & Formica/37 1/2 x 47 1/4" [typescript, below]; to the r., PAUL SIPOS INC./181 DUANE STREET NEW YORK, NEW YORK 10013/ (212) 925-3067; below, in black marker: LANNAN/FOUNDATION/1/CHRISTIES
inscribed in red paint, l.r.: 82.71
95.25 cm x 120.02 cm x 11.43 cm (37 1/2 in. x 47 1/4 in. x 4 1/2 in.)
Square, rectangular, and circular pieces of wood and formica are assembled in rectilinear, cabinet-like compartments. The entire object is painted black.
Assembled from found pieces of wood and formica, the objects that make up the piece resonate between being subsumed into the purely abstract form and reminding the viewer of their one-time life as daily objects.