Print made to resemble a wood framed chalk board; dated lower left 1974; at lower right, artist's insignia a capital W within a circle.
Wiley's use of text here confronts the viewer with an age-old aphorism "I hope you learned your lesson," while infusing the work with a sense of irony and humor by creating the illusion of erasure and rewrites giving an instability to what reads as incontrovertible text. Adding an element of self-reference to the work, Wiley leaves the ghost of his birth year, 1937, visible as an erasure at the bottom left of the print.
three aluminum-painted canvas panels joined in the back to form a square, with five inlays of Sculptmetal, zinc photographic plates and lead
Literal and straightforward references to the body have been “frozen” into the soft, manipulable Sculptmetal and lead plates, which are set into the canvas and flush with the surface. The photographic plate has an image of a fired bullet from an earlier Morris lead piece.
Huebler depicts a montage of elements directly cited from or reminiscent of iconic paintings of the Italian Metaphysical School of painting, 1913-20. Forms of Renaissance architecture, perspective space, and sculptural objects are arranged in a surrealistic dream space.
LED display running time approximately 25 minutes with looping text of approximately 170 truisms in red text.
Holzer's Truisms were adapted from readings as part of her Whitney Independent Study Program in New York City in the late 1970s; her first series of Truisms took the form of posters that she plastered across lower Manhattan; later utilitzing billboards and t-shirts for her textual art, Holzer adopted her best-known medium, the LED (light emiting diode) display in 1982. This work runs on a continuous 25-minute loop with over 170 truisums that range from trite to humorous and ironic while engaging viewers in a participatory exchange between ideas and perceptions.
This is a vertical abstract drawing in tones of gold, brown, gray, black and white. It has a large rectangular form surrounded by a darker brownish background. Within the form are paint strokes, lines and shading.
During the late 1940s thru early 1950s, Tobey painted in dark, sombre colors. This painting is an example of his calligraphic brushwork and the gestural quality of his tempera paintings.
Enamel abstract expressionist painting in traditional Valentine’s Day colors: white, orange, red, magenta, salmon.
“In place of the brush and other typical painter's tools, Clough uses an instrument he calls the ‘Big Finger,’ a large balloon-like contraption that he invented to spread poured house enamel on masonite into broad gestural constellations.” (Max Henry, “charles clough,” http://www.artnet.com/magazine_pre2000/reviews/henry/henry2-5-99.asp)
A installation piece that consists of a television monitor on a stand with a closed-circuit camera mounted on top. The lens is pointed directly off the top of the monitor, but there are mirrors suspended from the ceiling that change the camera's perspective.
Lithograph with a large number “three” that dominates the composition outlined in black with areas of white outline on a taupe background with black squiggly lines throughout.
Johns developed the form for “Figure 3” from a commercial stencil, and transformed the everyday symbol into an art object. By representing a widely recognizable subject, he challenges the viewer to see something new and to question accepted conventions of representation.
It is a long, rectangular unglazed ceramic piece, intended to be shown in horizontal position. Two thick slabs are connected with bridges inside. The front part has almost flat surface; there is a deep cut on the left side, in which mass of worm-like inner surface can be seen. The same surface is revealed in the middle, as well as on the right edge. The top of the slab has a several shallow holes and one deep cut, inside of which has worm-like surface, as explained above. There is also a dent on the top and on the right, from which worm-like mass seems to be coming out. Reddish shadows cast on left side, in the middle, and the right. There is a patch of clay on left side near the left cut. The bottom is flat.
This is an abstract, ceramic sculpture, not for practical use.
Three plastic long-stemmed red roses wrapped in thick transparent polyethylene, tied with twine, ends stapled
Wrapping something in plastic is usually meant to preserve or protect it; however, in “Wrapped Roses” Christo wraps something made of plastic in more plastic. Throughout his career, Christo, with collaborator Jeanne-Claude, has wrapped numerous items in cloth or plastic, including small boxes, furniture, even buildings. The artists deny that their projects contain any deeper meaning than their immediate aesthetic, contending that the purpose of their art is to simply create new ways of seeing familiar objects.
This horizontal format painting is done in shades of light and dark gray, cream and yellow. With abstracted forms it depicts jagged mountains sihouetted against a cloudy sky. In front of these mountains there are rolling hills and geometric forms that suggest a cityscape. In the foreground there are more mountain peaks.
This oil painting shows the city of Quito, Ecuador which was the home of the artist, Oswaldo Guayasamin. He painted this group of mountains surrounding the city and the volcano, Pichincha, in many colors to reflect the various seasons and times of day.
Can of Campbell’s Pepper Pot Soup with Andy Warhol’s signature in black felt-tip pen on lower left front of can.
The presence of Warhol’s signature on a genuine, seemingly banal, can of Campbell’s Pepper Pot soup elevates the piece and gives it credibility as a work of art, while paying homage to his infamous Campbell’s soup silk-screens.
Diptych of two square sheets of paper printed with words and lines. Left: Four lines along the diagonal divide the sheet into four triangles. The lines do not intersect in the middle, and stop just short of the corner of the paper. On each line are two words, one right side up, the other upside down. The “pairs” are (from center out, clockwise from top left): inner/ most; obtain/ clarity; come/ startle; replace/ toward. Right: A square is printed just inside the edges of the sheet. On each line are two words, one right side up, the other upside down. The “pairs” are (from top, left to right): lure/ handle; never/ given; random/ roam; diminish/ scale.
Robert Barry was among the first wave of conceptual artists of the 1960s and early 1970s who made art that was primarily text- and language-based rather than the traditional pictorial orientation of the visual arts. Barry chose combinations of words that seem to be related in some way. For example “obtain/ clarity” could read as a sentence, and although “come/ startle” seems to be of a similar construction, does not work like the first pair. As Anne Rorimer explained, “Words are used in Barry’s artwork to evoke the notion of open-ended space and open-ended meaning.... [T]he viewer is left free to bring their own meaning to the work. But the works also invite participation, allowing viewers to flex their imagination.” (cited in Benjamin Genocchio, “A Career Built on Exploring the Boundaries of Art,” NY Times, 30 Nov 2003)
Transfer type on square sheet of paper. Four lines divide the sheet into quadrants. The lines do not intersect in the middle, and stop just short of the edge of the paper. On each line are two words, one right side up, the other upside down. The “pairs” are (from center out, clockwise from top): aged/ fair; mess/ change; lovely/ private; trap/ hope.
Robert Barry was among the first wave of conceptual artists of the 1960s and early 1970s who made art that was primarily text- and language-based rather than the traditional pictorial orientation of the visual arts. Barry chose combinations of words that seem to be related in some way. For example “aged/ fair” might suggest to the viewer that they are opposing terms, but on second thought, although there is a vague associational relationship between the two words, they are not antonyms. As Anne Rorimer explained, “Words are used in Barry’s artwork to evoke the notion of open-ended space and open-ended meaning.... [T]he viewer is left free to bring their own meaning to the work. But the works also invite participation, allowing viewers to flex their imagination.” (cited in Benjamin Genocchio, “A Career Built on Exploring the Boundaries of Art,” NY Times, 30 Nov 2003)
Wooden box with a keyhole cut through center of piece encircled with copper-colored paint and two large copper screw-heads on golden-yellow background; the word “KEY” painted in white letters at bottom
Like “Key Box,” many of Tilson’s works are reminiscent of children’s learning games, with bold colors and simple geometric forms. “Key Box” also reveals Tilson’s fascination with the relationship between symbols and words, linking the written word “key” with the representation of a keyhole.