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.
Rectangles of offwhite and blue-grey, of various sizes, arranged on a grid.
Work in the style of geometric abstraction and color field. Scully's highly formal gridded work explores the interplay of shape and color. His work both compositional energy and balance of gridded order.
Thin, double-side, H-shaped bronze sculpture. Each side is made up of a collection of rough rectangle shapes overlapping and butting up against one another. Two rectangle-shaped openings penetrate the piece.
The artist is interested in the synthesis between idea, material, and form in abstract sculpture.
Two tall, rectangular intersecting planes, one black and one white, create the appearance of a tall, minimal structure. Vertical lines of black and white add to the structure, which at its base projects slightly into a rough square shape that seems to delineate a kind of ground or base. The space around the structure is ochre.
The basic forms and lines of this piece consider fundamental formal relationships and are in dialogue with Bauhaus ideas about architecture and industrial design.