Square photograph with overall blue/black/white tones, except for full color in the center circle. In the middle there is a sphere stacked on a circle, stacked on a cube. The sphere has the image of an upside down eye, the circle a color image of a blue eye with heavy dark lashes, and the cube has an image of the eye, lid and brow. A pair of eyeglasses are placed in front of the cube so that the eye sits behind the lens. Behind the stacked objects is a large sheet of paper rolled into a conical shape.
In the late 1970s Kertész used a Polaroid SX-70 camera to photograph objects in his apartment that he had collected over the years. Some he positioned on his windowsill to capture the reflection of the sunlight outside, but In this photograph he has created a still-life arrangement with images of eyes and a set of eyeglasses set on the surface of a table. Kertész published a book of these photographs, "From My Window," in 1981.
This object is a cream colored sheet of paper in a horizontal rectangular shape with geometric forms embossed in the center section. There is no color and the geometric forms are created by raised lines. There is a long rectangle that contains two sets of intersecting cubes. The object title, edition number, artist signature and date are written in pencil below the rectangle.
Albers was a German-American geometric abstract painter, printmaker, sculptor, designer, writer, and teacher. Between 1958-1962, while working on his complicated series based on color, Albers was also working on a new series of colorless intaglio prints. These were based on drawings that he called “Structural Constellations”--compact line drawings of three-dimensional forms that would be impossible to construct in real space.
Square shaped ceramic plate with iron black/brown glaze. Areas of raised black glaze with speckled texture sharply contrast lighter brown sections. Together they forn the shapes of circles, cracks, and lines.
A square dish, perhaps used for sweets at a tea ceremony
This rectangular clay bottle has a speckled white glaze that seems to highlight the texture of the stoneware underneath. Three dripped, irregular lines of black glaze create a design on the top, spout, and widest two faces of the bottle.
This is a square painting with skinny vertical lines of green on a background of red. There are two square forms in the center, each with a diagonal line from the upper left to lower right corners. One square is created by a pinkish, purple line and the other is created by a reddish orange line.
This abstract painting is an example of Op Art where the artist uses a repetition of geometric shapes and contrasting colors to create visual effects such as foreground-background confusion and ambiguous depth perception. Julian Stanczak was a student of Josef Albers, a painter who studied the perceptual qualities of color and the visual effects when various colors are combined
The shape of the circle repeats four times in this painting. It appears in the plump body of Hotei, his head, his large white sack, and the overall shape of the fan.
Hotei (known in Chinese as Putai) is the fond nickname for a tenth-century Chinese monk named Qici, who attained legendary status as an exemplar of Zen ideals. Hotei is recognizable by his large belly and his equally enormous alms bag, which he carried everywhere. His very name is a pun: Hotei literally means “cloth sack”—and by extension, “glutton.”
Hotei became a favorite subject for Zen monk-painters in China and Japan as early as the thirteenth century. Artists delighted in the possibilities for visual punning, drawing both Hotei’s belly and his sack as enormous circles. An empty circle—a perfect geometric shape without beginning or end—is used in Zen as an abstract symbol representing the erasure of opposites, a fundamental Buddhist teaching.
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.
Purple silk crepe with hitta miura and hand tie-dyed design achieving the effect of many diagonal rows of tiny squares. Upper lining is plain weave momi (red silk) and lower and cuff linings are mauve pink.
The hitta miura design would have been marked out with a blue figurative ink to guide artisans. Momi, the plain red lining on the upper portion of the kimono, was originally achieved with safflowers, and considered to have medicinal properties. This made momi an excellent choice for linings, which were usually done in a plain weave.
This piece of brick red cloth is covered with geometric patterns in tones of red, greenish yellow, white and orange. Along the top and bottom edges (if the piece were vertical) are border grids made up of 6 squares with triangular patterns of thread inside them. The main body of the phulkari is a 6 by 9 square grid, each box housing a stylized floral pattern made from embroidery.
Phulkari embroidery uses stylized designs of objects from daily life, particularly flowers and birds. These designs usually leave ample space between them, allowing for vibrant patches of fabric to show through. The most common color of the cloth that serves as a base for phulkari embroidery is brick red, as red is an auspicious color associated with shakti (power) and the mother goddess. The tradition of phulkari embroidery nearly faded out in the late twentieth century, yet the designs have become a recent international fashion trend.
This composition features thick black curved and straight lines that intersect to create fork-like abstracted forms. There is a highly saturated red square that punctuates the center of the composition.
Abstract image with black forms and one small red square.