A small, squat rectangle divided into two halves is centered on a large sheet of paper. The left half is orange at top, red at bottom, with swirling lines of tan and gray; the right half is orange at top, red at bottom, with swirling lines of blue and green. Both sides are dotted with black.
Abstract, organic, linear drawing. The title most likely refers to Brazilian architect Oscar Niemeyer, who is considered one of the most important names in international modern architecture. He was a pioneer in exploring the formal possibilities of reinforced concrete solely for their aesthetic impact. Among his best-known works there are the many public buildings he designed for the city of Brasília, a UNESCO World Heritage Site and the United Nations Headquarters in New York City (with others). As Niemeyer described his aesthetic project: “Not the straight angle that attracts me, nor straight, hard, inflexible, created by man. What attracts me is the free and sensual curve, the curves that find in the mountains of my country, in the course of its winding rivers, the sea waves, the body of the woman preferred. Curves is done throughout the universe, the universe of Einstein's curved.” [http://en.wikipedia.org/wiki/Oscar_Niemeyer]
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)
Two abstracted bust-length figures, one male and one female, look directly at the viewer with large smiles against a tan background filled with swirling lines and scribbles. The face and eyes of each figure are outlined in thick green, the mouths in thick yellow. The “whites” of the eyes are red, while the pupils are circles of pale purple. From the eyes of the male figure, purple paint drips down his checks; in the female figure, the paint drips upwards.
In “Ups and Downs” two figures, one male and one female, confront the viewer with large smiles. The work gets its title from the purple “tears” that drip down the face of the male figure and upwards on the female figure.
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.
22.86 cm x 45.72 cm x 22.86 cm (9 in. x 18 in. x 9 in.)
Abstract sculpture in white with red on three ends, with a pattern of small raised bumps covering the entirity of the piece and creating a rough texture. The sculpture is formed with two ball shaped figures on top and two long curves on bottom.
The number "3" in orange in a blue circle with a green background; the word "THREE" written bottom center.
“Number 3” is part of a series of works based on numbers and reflects Indiana’s interest in the existential aspects of numbers, which he regarded as the basic elements structuring our daily lives, with 1 to 9 representing the spectrum of existence and 0 standing between life and death.
By using a subject matter that can be instantly recognized and accepted, it permitted Indian to concentrate on form and color. He uses an intentional ambiguity based on the principle of redundancy by identifying the number “3” with its letter equivalent, expressing the same abstract concept graphically as both symbol and word.