This is an oil painting in a vertical format painted in tones of brown, white and black. It shows four circular forms and areas with thick paint applied in broad brushstokes.
Terry Winters is an American abstract artist whose paintings in the 1980s depicted natural forms and botanical studies. In an interview from 2008 he described his early work: "For me, painting's capacity to make images through the manipulation of materials seems to be its most powerful and magical quality. How a painting is built is a big part what it means. Mark-making, gesture and touch-those are the key components as to how to generate images through painting."
A study sketch of the heads of men along the top right side and a pair - a man and the devil - smoking in the bottom left corner. The men on the right are all helmeted in different syles of helmet with pointed faces. The man in the bottom corner is dressed in 17th century dress and reclining with legs outward while smoking. The devil figure is hard to discern, but appears to be a standing gargoyle-like figure in the distance. Clouds of smoke surround them.
This squat bowl is not smooth but has subtle irregularities in texture and shape, intentionally highlighted by the brilliant red glaze.
Since the late sixteenth century, red has competed with black as a favored color for teabowls. Red bowls come in an astonishingly wide range of colors, from a rusty orange to a pale pink. They are made with a clear glaze over red slip (thin, watery clay). Although this bowl bears a seal reading “raku,” here it probably indicates the style rather than the maker of the bowl. Similarities to pottery made in western Japan suggest that this bowl may come from a workshop in the Hagi or Karatsu area. The bowl demonstrates the wide appeal of the Raku technique to tea practitioners of late Edo-period Japan.
The background of this print is covered with whitish paint or gesso that reveals the texture of the canvas, brush, and its application. Where material has been applied to the canvas there are small wrinkles. Dashes of black paint appear on the lower two thirds of the collage. What looks like a signature is in the bottom left.
This abstracted drawing in black ink contains a series of lines and shapes that evoke a sense of motion from the upper right to the lower left of the composition. Long parallel lines on a diagonal from the top right to bottom left reinforce this sense of movement. Swirling abstracted forms surround these lines and the composition is speckled with very fine splatterings of ink throughout.
Abstract drawing with lines, swirling forms and ink splatterings.
A small, squat rectangle divided into two halves is centered on a large sheet of paper. The left half is a blue wash with black marks; the right half is a light gray wash with blue marks.
This geometric, linear drawing is likely an abstract portrait of Gio Ponti. A central figure in Italy's post-war design renaissance, Ponti was a poet, painter, industrial designer and founding editor of Domus magazine as well as an architect. [http://designmuseum.org/design/gio-ponti]
Going against the descriptiveness of the title, however, Pozzi has stated: “My painting doesn’t start from any premise other than the analysis of its own elementary characteristics. It does not include in its combination of elements outside premises such as mathematics, vegetation, primitive cultures, modern publicity, traditional symbolism, the esoteric or the occult. It is not at the service of anything, it doesn’t represent anything.” (cited in Bret Waller, Works from the Collection of Dorothy and Herbert Vogel exh. cat., University of Michigan Museum of Art)
This etching consists of an abstracted composition executed in loose lines with a more figural representation of a figure with its arms raised on the left accompanied by a more abstracted form in the center of the composition. The etching is printed on a heavily embossed surface made up of raised circular lines. There are passages of hand coloring on the figure on the left whose torso is colored in yellow and blue. Other small circles are colored in red on the form to the figure’s right.
Abstracted composition with a figure in outline on the left and other forms.
One of a pair of windows with a highly regular, rectilinear, although asymetric, design in both clear and colored glass. Window has an oak frame. Window design consists of vertical and horizontal bands of green and amber colorerd glass at top and bottom of window; along one side are colored squares of glass; along the other is a chevron-shaped column of glass. The overall effect is of colored pieces of glass suspended within a clear window subdivided by abstract bands and patterns of lead caming.
The Darwin Martin house was considered by Wright to be one of the most important and satisfying houses he build in the early part of his career and stands as an outstanding example of Prairie School architecture. This pair of windows (1968/2.53-53) from the first floor of the Martin house contain an abstracted pattern based on wisteria, seen in the vertical row of chevron-patterned glass.
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.