Brown (bottom left) and green (top right) interlocking abstract forms painted with a gap between them; image is centered and lies on the diagonal.
Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice. He subverts the conventions of modernist sculptural practice (defined by grand heroic gestures, monumental scale, and the ‘macho’ materials of steel, marble, and bronze) and instead creates small, eccentrically playful objects in decidedly humble, even ‘pathetic’ materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, Styrofoam, and plywood. Influences on his work include calligraphy (he has a strong interest in the intrinsic power of line), poetry, and language. (http://www.pbs.org/art21/artists/tuttle/index.html, accessed 1 Feb 2010)
This is a rectangular fragment of a larger garment, probably a shawl, woven from very fine woolen threads with a white/natural ground and alternating rows of intricately detailed 'boteh' (paisley) patterns in red and blue.
This print is constructed of five horizontal bands of color with a semicircular shape at the top center. The bottom-most band depicts tightly clustered organic shapes with dark borders. The next band has a short, thick, curving line in the center, and a couple other dark organic lines above it. The third and middle band has some hatching and some circular shapes. The fourth band, or the second band from the top, is made up of horizontal lines, with many hatched vertical lines over top of them, reminiscent of grass. The top most band depicts a cellular-like structure, consisting of a diamond pattern. The semicircular shape at the top cuts through the top band, and juts partially into the band underneath it. The semicircle has an organic, circular line formation in the center.
According to the National Collection of Fine Arts' exhibition catalog Gabor Peterdi: Forty-five Years of Printmaking, Peterdi's work consistently reflects themes of man, nature, and their interrelationships. Additionally, his work his highly influenced by his travels to Mexico, South America, Hawaii, and Alaska. These themes and experiences work together to create sensitive images designed to evoke a sense of continuity and a reaffirmation of life.
Ink and gouache drawing in black, gray and white on tan paper with tall vertical structure at center of composition rendered in a series of quick vertical and diagonal lines.
Drawing depicting the landmark Flatiron Building at Broadway, Fifth Avenue and 23rd Street in New York City. Designed by Chicago architect Daniel H. Burnham and built in 1902, the triangular building was the first structure in New York with a steel frame and is one of New York’s oldest surviving skyscrapers. Gleizes takes a Cubist and Futurist approach in his representation of the building, revealing multiple perspectives of the edifice simultaneously on a single picture plane, while systematically dismantling and rhythmically reorganizing its structure.
A study sketch of the heads of men along the top right side and a pair - a man and the devil - smoking in the bottom left corner. The men on the right are all helmeted in different syles of helmet with pointed faces. The man in the bottom corner is dressed in 17th century dress and reclining with legs outward while smoking. The devil figure is hard to discern, but appears to be a standing gargoyle-like figure in the distance. Clouds of smoke surround them.
Tea ceremony bowls are meant to serve two functions as not just a container but as a work of art. Kuwata's tea bowls while somewhat far removed from traditional tea bowl aesthetics still serve both of these functions. With his works, Kuwata is not trying necessarily to break tradition, but to create contemporary ceramic pieces that build off of tradition.
Cast ceremonial sword. The "fan" shape is indicative of the royal eben type. The general shape may be derived from northern, Sahelian influences. The looped handle is also typical of the eben type.
The eben sword form is highly regular, despite being wielded by many different individuals int he Benin kingdom. The creation and distribution of eben is controlled by the oba (Benin king), andits display signifies fealty to the monarchy. The regularity of the form represents the triumph of the kingdom's political constitution over the lesser forms of social organization.
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)