In the forefront both men and women are dipicted as watching the concert. One man has his head resting on his hand. At the center of the piece lies the orchestra, and more prominently the conductor. The stage is surrounded by curtains.
Black and white drawing of organic forms vaguely resembling human figures flowing into one another in a room-like space. On the right hand side of the grouping stands the most recognizably humanoid figure.
Xhorkom is the village in Turkish Armenia in which the artist grew up before the Armenian genocide during World War I. The piece uses abstract, organic forms to evoke the happy, nurturing, cradling experience of his childhood with his family and to express,the indeterminate, changing, and fantastical shape of memory.
Print featuring a stage with a figure of a man with his feet touching his head while doing a handstand on a small table flanked by two chairs. His large shadow is cast on the wall behind him. The head and hands of a conductor are visible in the lower right.
Along with fellow members of The Bridge Ernst Ludwig Kirchner and Karl Schmidt-Rottluff, Erich Heckel often turned to images of the circus and cabaret as illustrations of working class, non-bourgeoisie society. Following his two years spent in the lakeside focusing upon nudes at rest and in harmony with nature, Heckel’s artistic focus turned to these theatrical images.
Handstand focuses upon a solitary acrobatic performer on stage. The contorted figure is dwarfed by its monstrous shadow cast upon the stage wall. The head of a conductor leading a brass band is visible in the foreground suggesting that the acrobat is performing before an audience. Along either side of the stage we glimpse columns composed of primitive masks – visual allusions to the Expressionists interest in art of Oceania and the Americas.
A long, low rectangular with a painted band of green extends around the rectangle at floor level. The upper half is painted off-white. About three fourths of the length is uniform. The other quarter, at the viewer's right, has several features: two depressed areas, and two raised areas, which are painted in a brighter white.
Anne Truitt's painted minimalist sculpture incorporates two distinct themes: first, a formalistic approach to shape and the exploration of minimalist form and the relationship between color and form; second, a distinct subject matter -- here a sandcastle and the associated themes of play.
7-sided frame made of reclaimed wood moulding and slats nailed together and backed with strips of green felt, possibly from a pool table. Gold wire traces the wood frame, and is accented with a fuzz ball or googly eye at each corner. A toy car is placed on the gold wire “track” at bottom center; car racing flag stickers attached to the frame in a couple places. Three pieces of thread are strung horizontally across the frame, a “spider web” attached to top two lines with puffy paint. A wood (?) cutout of a smiling joker mouth hung from web by wire.
This assemblage made of found materials makes reference to childhood themes, such as toy car racing and comic books. The association is further supported by the materials sued, which are items one would typically find in a craft box, such as googly eyes and fuzz balls, brightly colored nylon thread and puffy paint.