Abstract painting, primarily white with a large squarish area of dark green in the top left quadrant. Loose brushwork varies from wide, full strokes to the short, rapid strokes at the compositions center. Pigment application ranges from a very thin wash to heavy impasto.
In "White Territory," the title of the work along with its gestural brushwork strongly evoke the memory or sensation of a landscape. It is a reflection upon personal associations and inner domains that the artist calls "internal weather."
Abstract painting composed of long broad brushstrokes in black and white with a small area of red in the upper left quadrant.
“Untitled” is typical of Kline’s work during the 1950s and 60s, his use of strong lines of black and white paint imparts a sense of the artist’s hand, creating a cacophony of line and gesture. Despite the appearance of the accidental, this work is actually very carefully conceived and consciously constructed. The balance between black and white, volume and void, is precisely thought out while expressing an urgency and vitality.
Print made to resemble a wood framed chalk board; dated lower left 1974; at lower right, artist's insignia a capital W within a circle.
Wiley's use of text here confronts the viewer with an age-old aphorism "I hope you learned your lesson," while infusing the work with a sense of irony and humor by creating the illusion of erasure and rewrites giving an instability to what reads as incontrovertible text. Adding an element of self-reference to the work, Wiley leaves the ghost of his birth year, 1937, visible as an erasure at the bottom left of the print.
three aluminum-painted canvas panels joined in the back to form a square, with five inlays of Sculptmetal, zinc photographic plates and lead
Literal and straightforward references to the body have been “frozen” into the soft, manipulable Sculptmetal and lead plates, which are set into the canvas and flush with the surface. The photographic plate has an image of a fired bullet from an earlier Morris lead piece.
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.
Huebler depicts a montage of elements directly cited from or reminiscent of iconic paintings of the Italian Metaphysical School of painting, 1913-20. Forms of Renaissance architecture, perspective space, and sculptural objects are arranged in a surrealistic dream space.
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)
Diptych of two square sheets of paper printed with words and lines. Left: Four lines along the diagonal divide the sheet into four triangles. The lines do not intersect in the middle, and stop just short of the corner of the paper. On each line are two words, one right side up, the other upside down. The “pairs” are (from center out, clockwise from top left): inner/ most; obtain/ clarity; come/ startle; replace/ toward. Right: A square is printed just inside the edges of the sheet. On each line are two words, one right side up, the other upside down. The “pairs” are (from top, left to right): lure/ handle; never/ given; random/ roam; diminish/ scale.
Robert Barry was among the first wave of conceptual artists of the 1960s and early 1970s who made art that was primarily text- and language-based rather than the traditional pictorial orientation of the visual arts. Barry chose combinations of words that seem to be related in some way. For example “obtain/ clarity” could read as a sentence, and although “come/ startle” seems to be of a similar construction, does not work like the first pair. As Anne Rorimer explained, “Words are used in Barry’s artwork to evoke the notion of open-ended space and open-ended meaning.... [T]he viewer is left free to bring their own meaning to the work. But the works also invite participation, allowing viewers to flex their imagination.” (cited in Benjamin Genocchio, “A Career Built on Exploring the Boundaries of Art,” NY Times, 30 Nov 2003)
Transfer type on square sheet of paper. Four lines divide the sheet into quadrants. The lines do not intersect in the middle, and stop just short of the edge of the paper. On each line are two words, one right side up, the other upside down. The “pairs” are (from center out, clockwise from top): aged/ fair; mess/ change; lovely/ private; trap/ hope.
Robert Barry was among the first wave of conceptual artists of the 1960s and early 1970s who made art that was primarily text- and language-based rather than the traditional pictorial orientation of the visual arts. Barry chose combinations of words that seem to be related in some way. For example “aged/ fair” might suggest to the viewer that they are opposing terms, but on second thought, although there is a vague associational relationship between the two words, they are not antonyms. As Anne Rorimer explained, “Words are used in Barry’s artwork to evoke the notion of open-ended space and open-ended meaning.... [T]he viewer is left free to bring their own meaning to the work. But the works also invite participation, allowing viewers to flex their imagination.” (cited in Benjamin Genocchio, “A Career Built on Exploring the Boundaries of Art,” NY Times, 30 Nov 2003)
LED display running time approximately 25 minutes with looping text of approximately 170 truisms in red text.
Holzer's Truisms were adapted from readings as part of her Whitney Independent Study Program in New York City in the late 1970s; her first series of Truisms took the form of posters that she plastered across lower Manhattan; later utilitzing billboards and t-shirts for her textual art, Holzer adopted her best-known medium, the LED (light emiting diode) display in 1982. This work runs on a continuous 25-minute loop with over 170 truisums that range from trite to humorous and ironic while engaging viewers in a participatory exchange between ideas and perceptions.
Abstract painting. Orange (left), red (right) and pink (bottom) bands painted with a zigzag pattern frame an abstract image in the center painted with vigorous upward strokes.
“Spirituality and feeling are the basic subjects of my work. They are depictions of intuitive expressions using color as language, and the landscape (God’s earth) as a metaphor for the arena of life. The revelation of a primal image that delivers an immediate response in the viewer is my goal. Hopefully my paintings convey a felt perception of life, an awareness of the history of art, and a clear expression of my passion and sense of spirituality. I sense a visual music that externalizes what I feel within me and in the air.” Artist’s statement on website (http://www.ronnielandfield.com/)
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.
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.
Hollow glass piece. The bottom half (whose end is flat and thus serves as a base) is a solid spring green separated by a band of translucent yellow. The top half is a darker olive green with a Kelly green stripe that winds from the yellow band at center to the hole at this end of the piece.
(Abstract, organic shape. Meaning of title is unclear. Perhaps taken from an anagram.)
Large stoneware abstract sculpture with two balanced lateral crescent-shaped forms branching off a central conical structure. Brown with loosely-painted broad brushstrokes in black and incised decoration of rows of dots in a “stitching-like” pattern
Drawing inspiration from Japanese ceramics, American Abstract Expressionist painting, and improvisational jazz, Voulkos pushed the limits of his medium and moved beyond the realm of the ceramic vessel to a new level of sculpted and painted ceramic form.
Inspired by the large-scale, unpremeditated form, free-energy and bold gestural strokes of abstract expressionism, his work became marked by mass and size, spontaneous form, and a bold, painterly use of glazes.