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white-flag-projects: David Lieske Case Arse II (Nash/Megson Collection; 1 Month, 11 Days), 2009  Black cotton and wooden stretcher in three parts (one illustrated), 92 3/4 x 97 1/2; 92 5/8 x 79 1/2; 92 7/8 x 89
19 ♥
blackv: Currently on show at Hauser & Wirth, through April 24, is a series of small sculptures by Eva Hesse that are essentially fragments rescued from her studio. They are fragile and diaphanous in substance, almost anti-sculptures. A year before her death, in 1969, Hesse wrote of her desire “to get to non-art, non-connotive, non-anthropomorphic, non-geometric, non-nothing; everything…It’s not the new, it is what is yet not known, thought, seen, touched; but really what is not and that is.” Though not quite there, or not quite anything, the works, nonetheless, feel significant and demanding. As Leslie Camhi wrote for the New York Times blog, though the work in the exhibition seem closer to prototypes to autonomous works of art, they are compelling in revealing those familiarly Hesse-ian themes: “plasticity, an engagement with ephemeral materials, the elusive and incomplete nature of memory, and a redolent corporeality.” (via » Go See – New York: Eva Hesse at Hauser & Wirth through April 24, 2010 - AO Art Observed™)
63 ♥
spicio: Wyatt Kahn
40 ♥
delightfullycatawampus: Marcel Duchamp, 50cc of Paris Air, 1919
70 ♥
spicio: Anthony Pearson, Untitled (Tablet), 2010. Bronze sculpture with silver nitrate patina
31 ♥
The Story of the Armory Show by Walt Kuhn
0 ♥
Association of American Painters and Sculptors meeting minutes
1 ♥
Pablo Picasso (1881-1973), Recommendations for Walt Kuhn for the Armory Show, 1912, Walt Kuhn, Kuhn family papers, and Armory Show records, 1859-1978, Cat. no. 28. In 1912, American painter Walt Kuhn asked Picasso to recommend European artists for the 1913 Armory Show, the first international exhibition of Modern art in the United States. This list is Picasso’s recommendations, including Marcel Duchamp — name spelled out phonetically — whose Nude Descending a Staircase (1912) caused an uproar at the exhibition, Fernand Léger, and Juan Gris, among others. The Europeans stole the show, overshadowing their American counterparts.
2 ♥
theincompletenesstheorem: Rebecca HornBallet of the Woodpeckers, 1986
90 ♥
Franz Kline’s receipt from John Heller’s Liquor Store, Dec. 31, 1960. Elisabeth Zogbaum papers regarding Franz Kline, 1928-1965. Image courtesy of the Smithsonian Institution’s Archives of American Art; copyright F+W Media Inc. 2011.
13 ♥
Association of American Painters and Sculptors, Inc.,International Exhibition of Modern Art, 1913. Exhibition catalogue. New-York Historical Society
2 ♥
Overhead view of Armory installation, 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution
1 ♥
Finnish-born architect Eero Saarinen’s list of Aline Bernstein’s positive attributes, ca. 1954. Aline and Eero Saarinen papers, 1857-1972. Image courtesy of the Smithsonian Institution’s Archives of American Art; copyright F+W Media Inc. 2011.
8 ♥
Yadir Quintana, Everest, 2011, silver leaf and mixed media on plike
15 ♥
Yadir Quintana, Everest, 2011, silver leaf and mixed media on plike Portraits In his series “Portraits”, Quintana lays paper gilded in gold or silver leaf beneath a person – typically another artist – while they work. The floor becomes the apparatus of the image’s production, collecting oxidation, footprints, dripped paint, sweat, and dirt that all combine to create a trace of the subject. By combining delicate gilding with ordinary elements such as dirt and sweat, the artist demonstrates his interest in materials and those of the artists who “sit” for him. Quintana does not seal his works so they slowly evolve over time, revealing environmental fluctuations, fingerprints, and impurities in the metal leaf. The Portraits hint at devotional relics and their gradual changes record the history of their display. –Jennie Lamensdorf, curator, The Francis J. Greenburger Collection
4 ♥
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