Twelve identical cubes and twelve identical cylinders of gold-plated steel. They are rearrangeable.
This abstract sculpture of rearrangeable cubes and cylinders is meant to be participatory--rearrangeable by the viewer to any desired configuration. The subject matter is the sculptural form but also the interaction between artist, audience, and art object.
A framework three-dimensional cube sits at an angle so that one of its corners appears to protrude from the center of the piece. The cube is gray, with dark gray shading on the shadowed edges, and dark and light yellow shading on the lit edges. The canvas is cut to the dimensions of the cube.
Loving was intrigued by the history of perspective in painting and wanted to create a piece in which the vanishing point for the perspective is in front of the painted surface, toward the viewer, rather than within the surface. The result is a representation of depth that seems to protrude from the surface rather than creating the illusion of space inside the canvas.
At the outer edge a long black rectangle composed of graphite and wax extends upward. Within this border is a white rectangular stripe, following the same arc as the outer black rectangle, which is exposed Arches heavy white paper. An inner black stripe sits at the composition's center composed of the same wax and graphite.
The piece is about the interplay of its elements: the interplay of dark and light, glossy and matte surfaces, within the pulsing form of nested rectangles.
Two sets of concentric arcs of bright colors radiate toward one another from the lower left corner and the upper right corner.
One of Stella's paintings from his Protractor Series, in which he explored the relationship between rounded forms and colors. The form and choice of color here make the arcs appear to be interacting with one another.
A base composed of a red section that lies on the floor and a black section that rises to narrow point. On the point rests the moving part of the "mobile"--one arm extends out and ends in a black boomerang; the other extends out then attaches to a vertical arm that has yellow polygons on either end.
The abstractionist's interest in the rhythm and motion created by the way shapes, lines, and colors interact with one another is here put in actual motion in the form of a mobile.
This work is a dark gold square. Within this color area is a circle outlined in green, that touches all four edges of the square, and a smaller square outlined in white.
"Seven Aquatints" was Robert Mangold’s first set of intaglio prints. Like most of his print work, this series was based on his contemporaneous paintings exploring the serial relationship of geometric forms, in this case a circle and rectangles. In his work from the 1970s, line and color are treated as formal and conceptual equivalents.
The top row of triangles employs the colors mustard yellow, lilac and teal; the bottom row’s triangles are painted in taupe, sage and dusty violet. One of the triangles in this row is left unpainted, which shows the precisely measured and drawn lines that form the triangular composition.
This print shows a black horizontal rectangle in the lower left portion of an off-white background. The rectangle is divided in half and each side has a pattern of stripes that create the appearance of inverted u-shaped forms stacked one on top of the other.
Frank Stella began making prints in 1967 in collaboration with Kenneth Tyler at Gemini G.E.L. in Los Angeles. This lithograph is part of his small print series, "Black Series I," that were derived from his earlier stripe paintings from 1958-59.