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.
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.
A human face in anguish, with hands raised to his cheeks, looks out from the center of a visual field full of slashing diagonals and explosive triangles of color. On the left side, smoke billows.
Otto Dix's "Artillery Battle" is a study in the horrible experience of mechanized warfare in World War I. The painting depicts how it felt to be powerless, completely at the mercy of the mighty machines of war, like artillery.
Highly abstracted figure with oval body, short straight legs, and a large mushroom shaped head with a crude, wide-mouthed face. Between the body and head are two horizontal bars that are slightly longer than the width of the head. The sculpture is quite flat, and the bronze has a molten look.
Primitivist abstraction and surrealistic caricature of the figure of a girl carrying loaves of French bread.
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.
18.6 cm x 13 cm x 3.2 cm (7 5/16 in. x 5 1/8 in. x 1 1/4 in.)
A screenprint with "Jean Dubuffet, Algebre de l'Hourloupe, 52 Figures Extrapolatoires" written on it. The space around the writing is colored red, white, and blue. The words and the colors are outlined in black.