Cedar Piece

Andre, Carl

Modular, Like Stella. Taking single units [the stripe]. notched to create vertical form. It consists of equal lengths of standard lumber, into which he has cut simple woodworker's joints so that the sculpture can be slotted together, and then detached for the purposes of portability. No pedestal. Inspired by Brancusi's Endless Column-"A sculpture that doesn't end".

Lever

Andre, Carl

"atheistic, matrerialistic, and communistic". Lever is made of 139 fire bricks. There is no pedestal, must walk around the piece. The movement throught the space becomes more important b/c that is part of the piece. "If its sculpture, why isnt it vertical?" Disrupts the space of the gallery.

Equivalents

Andre, Carl

Very complex set of deductive stuctures, even though they seem simple. He takes form as he finds it. "120 is the number richest in factors". All installments contain 120 bricks, in every possible different configuration. Although each shape is different, they occupy the same amount of space in sq.inches. Sculpture demonstrates Andre's definition of "sculpture as place." By spreading out the bricks over the floor of the gallery, Andre wanted to generate a sense of extreme horizontality, reminiscent of the level of water. This led him to consider the layer of space between the sculptures to be just as substantial as the bricks themselves <but each sculpture was sold individually at the end of exhibition>.  Communistic b/c anybody can go out and make this piece. A protest against the use of artists work against hedge based inflation.

144 Pieces of Magnesium

Andre, Carl

He lets people walk on them! Changes your interaction with the piece. The notion that you have to act a certain way in a gallery is changed. Andre once claimed that the "periodic table of elements is for me what the color spectrum is for a painter," and many of the materials which he uses for his sculptures are pure elements selected from the table. Artists touch is gone, made with common materials, the material its made out of. <materialistic>

Fifth Copper Corner

Andre, Carl

"the strongest way to take up space is to take it at its lowest level" Used arithmetic formulas to allow people to see how he put the piece together.

Corner Monument 4 Those Who Have Been Killed In Ambush [To P.K. Who Reminded Me About Death]

Flavin, Dan

Eye level line and the viewers height. Brings about the problem of the eye level line, the piece looks totally different from different views.

Etant donnes: 1. La chute d’eau, 2. Le gaz d’eclairage (Given: 1. The Waterfall, 2. The Illuminating Gas)

Duchamp, Marcel

Piece that he as making while he says he isn't making art. Every now and then duchamp releases an object, referring to this secret work of art. How we see the body, how we look at it, how we frame it.

Untitled [To The "Innovator" of Wheeling Peachblow]

Flavin, Dan

Creates a sense of color mixture. "wheeling Peachblow" was also a glass installation in [??], Flavin was fond of glass, wanted to represent this in the sculpture.

Three Sets Of Tangented Arcs In Daylight And Cool White [To Jenny And Ira Licht]

Flavin, Dan

Takes over entire space. Daylight is warm, cool white is cool. Made the boring geometric space into a form that is unified. He aslo tells you what the piece is made out of in the title. Creates a dillema for the museum viewer. "where is the piece, can i walk in there?" Viewer becomes very aware of body, feels very surrounded. Not a "solid sculpture". Interior space is disrupted by sculpture in terms of color, light and form.

Untitled [8 Boxes]

Judd, Donald

Looks like things we've seen before, which was the artists intention. Vertically suspended stacks- emphasis on the upright strongly suggests a repetition of the observer's own body, a fact that serves to create a strong and unique relationship between two material presence. The use of two different materials, aluminum and plexiglas, offers the viewer two experiences; from the front, the beholder is drawn into the murky depths of space, while from the side, the piece presents itself as opaque forms, jutting into space. Each module is exactly the same. "how can i repeat the from and yet have a piece that is singular?" they do have a fundemental unity even though they are made of parts. The piece relies on where the eyelevel line is. Very adamant about no one touching them, but in common with andre is the interest in repeating abstract form. You also know what the piece consists of.

Untitled

Judd, Donald

 Repetition of elements that you put together in your minds eye as you move around them.

Installation View

Judd, Donald

The show made clear that the viewer was the one activating the piece/space. The pieces become part of the architecture of where they are shown.

Untitled

Judd, Donald

One of his steel line environments. Judd simply lines the space with sheets of glavanized metal. Created an effect of "placelessness". Comparable to Rosenquist's environment.

Memories Of Mike

Bell, Larry

Iceberg And Its Shadow

 Bell, Larry

Feelings you have in your body when you walk through a maze that is both transparent and reflective- a confusion between what you see visually and what you feel in your gut. You enter the work as an environment and you interact with it. Interaction of the viewer with the piece is the central act of minimal sculpture. All about what the viewer brings to the experience.

Iceberg And Its Shadow

Bell, Larry

Installation view

Bell, Larry

Tiny particles create rainbow/halo effect. Problem with the pieces in terms of minimalism is that they have plinths and pedestals. Critics said they were not a "gestalt".

Untitled

Morris, Robert

He wanted to create different viewing situations. "Gestalts" are immediately understandable geometric solids. Morris added interest by putting in a light, but we still know that this is a cylinder. what gets added is the cut, which divides the piece, even though it is completly "unified". Reduced to a unitary form.

Installation

Morris, Robert

 Untitled

Morris, Robert

It is scrap/garbage. Dedifferentiation. unlike the other works where you walk through and have a relationship to the works, he "de-differentiatiates" the gallery space.

Installation of Felt Sculptures

Morris, Robert

Randomness and temporality played important roles in Morris's body of work known as Process art or Anti-Form. Uses heavy felt that creates their own form. They are not recognizable forms, they use gravity to create form. Form is not permanent, results in a different composition for every iteration.

 Installation

Morris, Robert

Took up the whole floor of the museum. Morris had each block solid concrete (weighs tons). His idea was to literally break through the floor of the museum. it is overwhelmingly huge, you can also understand the process by which the piece was made by the position of the block (where they fell). It's a deductive structure that tells you what actions the artist took to make the piece look the way it does.

 Splashing [Destroyed]

Serra, Richard

His approach is close to Pollock's action painting. Lead splashes. Splashing the lead up against the wall then pulling away, you can again see the artist's process in the piece. Splash series grew out of his interest in an implied, reciprocal relationship between the artist, the work of art, and the subsequent viewer: "I was interested in my ability to move in relation to material and have that material move me."

 Cutting Device

Serra, Richard

Takes the materials and used a big industrial saw to cut through the materials. The saw has a huge kick, which makes the materials scatter. The process creates the piece. The saw composed the piece. "Creation of a piece through an action". The problem of its exhibition is that it doesn't show where the piece was made. It becomes more of a historical document of a piece made in 1970. It's too clean.

[image]

 1-1-1-1 [Destroyed]

Serra, Richard

The roll on top unites the piece and is the process that creates them. These pieces grab us because they have the potential for coming apart.

One Ton Prop [House of Cards]

Serra, Richard

Not welded together. Sensational piece because a man was injured and killed by it. It is one ton of lead. They are heavy and difficult to handle. Serra wanted to do it because it is all about process. he uses nothing but the pieces themselves to hold them up.

Modular Floor Structure

Lewitt, Sol

 Cubes With Hidden Cubes, Artist's Working Drawing

 Lewitt, Sol

The score marks give us the information about what's inside of each cube. This is an act of faith, because you can't see the cubes inside.

Cubes with Hidden Cubes

Lewitt, Sol

Drawing Series I, II, III, IIII with Series A (Simple) and Series B (Superimposed)

Lewitt, Sol

Wall Drawing #3 [Wall Drawing Using Vertical And Two Diagonal Line Directions]

Lewitt, Sol

Consists of a network of penciled lines, regulated by an internal logic imposed by the artist.

All Combinations of Arcs from Corners and Sides; Straight, Not Straight and Broken Lines

[Wall Drawing #146]

Lewitt, Sol

The point of the piece is that the drafts person makes up the way they look based on the conceptual drawings of the artist. These loosely predetermined schemes functioned as a means of emphasizing the concept over the execution, decentralizing the artist from the material realization of the finished work. They depend on the condition of light and the way one walks around the space. You are very aware of your movement in space and the flatness of the wall. Challenges your idea of what drawing is.

All Combinations of Arcs from Corners and Sides;

Straight, Not Straight and Broken Lines

[Wall Drawing #260]

Lewitt, Sol

 Non-Site [Slate From Bangor, Pa]

Smithson, Robert

Site/Nonsite piece

A move away from the gallery space as a repository for art. Materials from outside the gallery piled in low containers. The container is rigid and the material is amorphous.

Documentary Prints of Mirrors in Various Landscapes in Yucatan

[Yucatan Mirror Displacements [1-9]]

Smithson, Robert

Did not go into a gallery. It exists as a surrogate of the piece, because the piece disappears. The art magazine is the repository of the surrogates (the pictures in the magazine). You don't see the "real travel". You don't see the mirrors travelling from place to place. The story he wants to give you is how the mirrors are reflecting a place that exists in the minds eye. Documents vary specific spots that you can't find- creates a "no place" in a very specific place. He enhances the interest of a site with the mirrors. The container is amorphous and the mirror is the rigid thing.

 Partially Buried Woodshed

Smithson, Robert

He wanted the piece to eventually decay. Inspired by "the blob". About entropic systems, ended up also being about society's breaker (The May 4 shootings at Kent State University) <an inscription was added to the artwork that recontextualized the work>.

 Spiral Jetty

Smithson, Robert

A reference to the whole universe. It compliments the movie Spiral Jetty, made by his wife. Part of the piece is what the earth does to it. The northern section of the Great Salt Lake, where Smithson chose to site Spiral Jetty, was cut off from fresh water supplies when a nearby causeway was constructed by the Southern Pacific Railroad. This encouraged the water's unique red-violet coloration, because it produced a concentration of salt-tolerant bacteria and algae. It evoked a ruined and polluted sci-fi landscape. And, by inserting the Jetty into this damaged section, and using entirely natural materials native to the area, Smithson called attention to environmental blight. He also sought to reference the importance of time in eroding and transforming our environment. The coiling structure of the piece was inspired by the growth patterns of crystals, yet it also resembles a primeval symbol, making the landscape seem ancient, even while it also looks futuristic.

 Amarillo Ramp

Smithson, Robert

While surveying the piece, he and his pilot were killed in a helicopter crash. Smithson played no role in the actual construction of Amarillo Ramp. It comprised of a 140-foot diameter partial circle of rock, which ascends from level ground up to a height of 15 feet. At one time the ramp emerged from an artificial body of water called Tecovas Lake, which has since dried out.

Dissipate

Heizer, Michael

 Large-scale works that cannot fit into a museum setting, except perhaps in photographs. "Negative" sculpture by cutting directly into the earth. Consists of 5 small trenches lined in wood, inserted into the playa at the Black Rock Desert.

 Double Negative

Heizer, Michael

The cut is what unites the piece, and makes the piece activate the otherwise banal landform. The piece is also subject to entropy. The piece is unified through subtraction. It is also additive because the cut pushed the displaced dirt out into Mormon Mesa. An abstract idea carried out on a huge scale.

4 tons of paper data transplanted to a roof at Park Avenue South.

[Removal Transplant--New York Stock Exchange]

Oppenheim, Dennis

4 tons of paper data transplanted to a roof at Park Avenue South.

[Removal Transplant--New York Stock Exchange]

 Oppenheim, Dennis

 1000 lbs. of salt spread on Asphalt

[Salt Flat]

 Oppenheim, Dennis

temporary sculpture. unknown if he did the other two sculptures. it should be viewed mantally.

Time Pocket

Oppenheim, Dennis

 Time Pocket

Oppenheim, Dennis

international date line. "an isolated temperal phenomenon" a figurative but physically visible chunk of time. Artisit says you are free of the arbitrary idea of time. depends on the viewers willingness to suspend belief of time.

 Decomposition

Oppenheim, Dennis

made from cement steel gypsum and purple slate. it is in the form of your grandmothers rag rug. but itsmade out of these materials and called decomposition, the materials they used top build the whitney museum where it is showcased. attacking the museum as a repository.

 5600 Cubic Meter Package

Christo and Jeanne Claude

huge engineering problem. to pay for it they ran thir own art business and sold draings, pgotos/ etc. to finance eveything. cut out the middle man, no gallery, museum, or patrons. self financing art. constructing it is a spectacle that involves lots of people.

 Valley Curtain 

Christo

he decides to find a space that is isolated but has a road going through it. the site was one where he could actually build it butalso get exposure b/c of the road. took 45 days to put together. his support came mostly from europe and cost about $200,000. used lots of propoganda to bvring in an army of volunteers. the simplicity of the idea sticks in your mind.

 Wrapped Coast, One Million Square Feet

Christo and Jeanne Claude 

trying to find sites that will boggle peoples mind. toakes a natural phenomenon and finding an army of poeple to help you wrap it up. transforming a natural phenomenon into the most huamn of artifacts, clothing.

Running Fence

Christo and Jeanne Claude 

interview with diamonstein. "sucidal characterisitcs" they build their own identity, involved half a million people. christo ends up involing SO MANY non art people in the world of art.

Half-Mile Long Drawing

de Maria, Walter

 New York Earth Room

de Maria, Walter

fills up gallery, thats all that will ever be there. viewer experience: this is real dirt (smell), it is waist hight, cannot enter b/c it fills the enitre gallery. think abou the weight/heavuiness of it. "wow feat of engineering", how did they get it in there, who paid for it? why?

it is about the sacred nature of the gallery space, de maria takes a site and merges it with another. the actual site is placed in a different place (the gallery).

From Hand To Mouth

Nauman, Bruce 

from hand to mouth= poverty existance, eat food as soon as you get it, no way of storing it. in terms of compositoin, it cuts up the body to illustrate in a literla  way a metaphorical saying. it is very much like jasper johns target with plaster casts.  uncomfortable references to the body bc it is not whole or unified, body is just a cut up material.

Neon Templates Of The Left Half Of My Body Taken At Ten-Inch Intervals

Nauman, Bruce 

glass tubes fit around his body at 10in intervals. we have to figure out what part of the biody the template fits around. the piece is ghostly because it is a trsce of the artists body that isnt here. title is extremely important bc we would have no idea what tis is reffereing to. he chooses an arbitrary part of the body and chops it up, gives it to us in ghost pieces (template, what is around the body)

 Eleven Color Phtographs

[One of eleven photographs in 1970 portfolio]

 Nauman, Bruce

has references to duchamp , reday mades, and to the question of the body as a ready made. in both cases not fountains but objects that deal with fluids. they make themselves into fountians by simply saying it is so. if theartists body can be in part material, then what can be bought and what can be sold?

16mm

[Walking In An Exaggerated Manner Around The Perimeter Of A Square, Video Still] 

Nauman, Bruce 

boredom test, notion that time goes on continuously.

 Photo-Transformation

Samaras, Lucas

 Trademarks Performance

Acconci, Vito

artist makes his body into a stamp pad. puts ink into one of the bites on his body and then stamping it. he bit himself in the areas he could reach in a gallery setting. an action on skin which  can be either revolting or interesting as a way oif maing sculputre.

Seedbed

Acconci, Vito 

part of artisists delimma of being the focal point. artist was under the floor masturbating, talking to the veiwer. he wanted to remove heimself as a target/focus. the arts relationsip to the spectator becomes the art object.

The People Machine

Acconci, Vito 

observer forced to be participant/stooge. if you release the swing, it destroys the pice. tests the hyposthesis of the galey as a space where you passively look at art. formal analysis is not totally relevant to the piece. the real activator of the pice would be your body sitting on the swing. social contract keeps sculpture intact.

 Reading Position For Second Degree Burn

 Oppenheim, Dennis

the artist is subjecting the body to stress in unusual activites and documenting them as artwork. limited to surrogates (photos) and textual descriptions. it exists more than anything else in the mind.

Singing Sculpture

Gilbert and George 

robotic movement, makeup that looked like polished bronze. the body of the artist as a material for making art.

S.O.S. [Starification Object Series]

Wilke, Hannah 

"starified" a pun on scarification (burning/branding), she stuc audiences gum on her body. she takes on different roles (sexy model, islamic, housewife) exposeing herself to and using the audience as a medium. when she does this she is subjecting herself to "the gaze". the gaze in the situation is random, but the gaze in the photgraphs is high fashion, she is engaging the veiwer. it does not show personal interaction but rather the model taking a pose from fashion or cinema. "because i am performing this, i am making a statement about the objectification of womens bodies".

Measurement

Bochner, Mel

 interior of the gallery measured in ft and inches. done in a stylw that recalls architectural drawings(standard stick on numbers and lines). he is poining out that measurement is arbitrary. (similar to pure dirt, but different b/c relationship to the viewer, one talking about filling the space from something from the outside, bochner abstracts the volume and puts it into numbers)

Theory of Sculpture

[Counting]

Bochner, Mel

takes several aspects of sculpture and isolates them. what are the things about sculpture that distiguish it from draing, painting, architecture etc.? looking at various principles of set theory (counting, communitivity) cold presentation of information and the probem of visual verification for verbal statements.

Titled

[Art as idea as idea]

Kosuth, Joseph

thesaurus definition of idea.

One And Three Chairs

Kosuth, Joseph

photograph, reality, and the semiotic representaton of a chair. it is one in three b/c its one idea but three objects. the presentation has all of themarks of high art.

An Object Tossed From One Country To Another

Weiner, Lawrence

 The notion that art is in your head, you can carry this piece anywhere you. represents the huge import/export business that keeps the wrold rich.

Many Colored Objects Placed Side By Side To Form A Row Of Many Colored Objects

Weiner, Lawrence

the objects were the colored letters themselves

Duration Piece #15. Global

Huebler, Douglas

a timed piece with  a conxept that removes it from existance

Commissioned by MoMA

[MoMA Poll]

Haacke, Hans

visitors poll. the ballots are see though, different from traditional voting box. the piece was intended to embarrass the museum and the board. 

Art as a political system, financial tool, measures political beliefs of museum goers.

Happening

Baldessari, John

matching idea and photo

Throwing Three Balls Into The Air To Get An Equilateral Triangle [Best Of Thirty-Six Tries]

Baldessari, John

Three Parables

Baldessari, John

First Sexual Experience

Beckley, Bill

100 Boots Parking, Via de la Valle, California, 11:00 A.M. Video Still

Antin, Eleanor

Carving: A Traditional Sculpture

Antin, Eleanor

Eleanor Antin As The King

Antin, Eleanor

one of Antin's "personas"

Eleanor Antin R.N (Adventures of a Nurse)

Antin, Eleanor

Angel Of Mercy Performance At M.L.D'Arc Gallery, Nyc

Antin, Eleanor

Americans on the Move

[United States]

Anderson, Laurie

United States Part II: Don't Look Down

Tu M'

Duchamp, Marcel

The title lends a sarcastic tone to the work, for the words, perhaps short for the french tu m’emmerdes or tu m’ennuis (you bore me), seem to express his attitude toward painting as he was casting it aside.

Fountain

Duchamp, Marcel/R. Mutt

Duchamp chose objects that became art, such as a snowshovel,etc.

He forced the viewer to make art out of his objects.

He presesnted "Fountain" at the Independent Exhibition of the Society of American Artists under the pseudonym R. Mutt.

One

Pollock, Jackson

• all-over painting

• mural size

• gestural abstraction—“action painting” <involves whole body>

• no point of reference/ was all about movement

• raw canvas <physical depth>

Nijinsky as Petrouchka

Kline, Franz

Nijinsky

Kline, Franz

Woman I.

De Kooning, Williem

Red Painting

Reinhardt, Ad

Charlene

Rauschenberg, Robert

• has elements that stick out and have nothing to do with the painting

• it is a heterogenous work that lacks unity, the whole point of abstraction. it was going against abstraction and the art of the time.

• Every part of the picture equally activated, totally non unified

Odalisk

Rauschenberg, Robert

• plays on the classical painting Odalisk
• exploited sexual symbolism, by collaging elements drawn from popular culture
• word play- Odalisque & Obelisk

Bed

Rauschenberg, Robert

• painted a bed

• is it bed or art?

• tried to act in the gap between art and life

• Bed is one of Rauschenberg’s first “combines,” the artist’s term for his technique of attaching found objects, such as tires or old furniture, to a traditional canvas support. In this work, he took a well-worn pillow, sheet, and quilt, scribbled on them with pencil, and splashed them with paint in a style similar to that of Abstract Expressionist “drip” painter Jackson Pollock.

  Legend has it that these are Rauschenberg’s own pillow and blanket, which he used when he could not afford to buy a new canvas. Hung on the wall like a traditional painting, his bed, still made, becomes a sort of intimate self-portrait consistent with Rauschenberg’s assertion that “painting relates to both art and life…[and] I try to act in that gap between the two.”

Monogram

Rauschenburg, Robert

represents the artists freedom of expression

Canyon

Rauschenberg, Robert

takes American bald eagle on canvas against horrible newspaper ads. Has testicle-like pillow tied to painting. Sobering picture of America

Persimmon

Rauschenburg, Robert

Silk screen allowed rauschenberg to repeat imagery after he created “persimmon”

Flag

Johns, Jasper

• painted in wax, gives transparency to surface. Newsprint underneath. Has skin like consistency.

Three Flags

Johns, Jasper

• the geometry of the flags come forward, it becomes a sculpture

Target with Plater Casts

Johns, Jasper

• casts of john's own body. Takes the primary colors in target, and other parts of color wheel in casts.

Target with Four Faces

Johns, Jasper

• Artist is objectifying himself in a personal way, but the piece is impersonal. There are four, making him not just one individual/factory face. The target makes it impersonal, it baffles critics and audiences.

Numbers in Color

Johns, Jasper

• numbers in repetition. Numbers must always count as an abstraction. But john turns them into something you look at as opposed to something you make things with

The Critic Smiles

Johns, Jasper

The Critic Sees

Johns, Japser

Painted Bronze [Ale Cans]

Johns, Jasper

According to What

Johns, Jasper

• extremely difficult to read from side

• evolve all kind of objects on surfaces

• experimenting- one side encaustic, one side oil painting

• questions how to make painting/ what makes painting

• does the painting work

• abstraction painting- fundamental of unity in color and form (painting should be painted on flat surface)

• difference of standards

• divides into panel (takes unity away)

• 2 different media

• includes 3D

• protest against way things are

• similar to Tu’m

• includes readymade

Eat/Die

Indiana, Robert

• geometric

• strong colors- red and black

• strongest possible font

• did an performance- eating front of the painting

Demuth American Dream No. 5 [Figure Five]

Indiana, Robert

• numbers are ultimate signs

• words that are 3 letters and fits them in 5 slots

• 3 number 5s

• Charles Demuth, I Saw Figure 5 in Gold, 1928

X-5

Indiana, Robert

Hatchet with Two Palettes, Slate No. 2

Dine, Jim

Child's Blue Wall

Dine, Jim

• child’s lamp

• attached 3D object

• recreation of a wall paper

• frame keeps from being a real environment

Takka-Takka

Litchenstein, Roy

• gray scale- painted dots (just like printings)

• outlining

We Rose Up Slowly

Litchenstein, Roy

Yellow Brushstroke II.

Litchenstein, Roy

• starts to apply recognizable techniques to the other paintings

• comic book style to famous abstract paintings

• disconnection
• De Kooning’s work

Rouen Cathedral At Three Times Of Day

Litchenstein, Roy

• experimenting with Monet’s work

• icon of modernism

• reference out of images

• bunch of dots or abstract dots

Untitled

Litchenstein, Roy

President Elect

Rosenquist, James

• huge painting, mural size

• breaks up into irrational scale

• grisaille- gray painting

• american image

F-111, left side

Rosenquist, James

• installation made out of 51 panels

• reproduction of airplane

• significant aspects of his time

F-111, right side

Rosenquist, James

• installation made out of 51 panels

• reproduction of airplane

• significant aspects of his time

Horse Blinders

Rosenquist, James

• image, light, sound

• painted image and reflected image juxtapose each other

Bathtub No.3

Wesselmann, Tom

• made of real things

• object is painted- woman

• reduction of a woman

• should be a private place

• women became something to be looked at

Great American Nude #54

Wesselmann, Tom

• juxtaposition between reality and visual representation

Bedroom Tit Box

Wesselmann, Tom

• Bedroom Painting #25, 1967-71

• slicing up woman

• taking parts and making whole

• equating objects that represents woman to a actual part of woman

State Hospital

Kienholz, Edward

• Looks like a prison

• 2 figures on bed

Backseat Dodge '38

Kienholz, Edward

Shows Love as the most scary possible way

Woman Washing Her Foot In A Sink

Segal, George

Cinema

Segal, George

The Gas Station

Segal, George

The street with Claes Oldenburg and Anita Reuben

Oldenburg, Claes

U.S.A. Flag

Oldenburg, Claes

Bedroom Ensemble, Replica I

Oldenburg, Claes

Soft Pay-Telephone

Oldenburg, Claes

Soft Manhattan #2

[Tactile Form of the New York Subway Map]

Oldenburg, Claes

Shoestring Potatoes Spilling From A Bag

Oldenburg, Claes

Lipstick [Ascending] On Caterpillar Tracks

Oldenburg, Claes

Lipstick [Ascending] On Caterpillar Tracks

Oldenburg, Claes

Lipstick [Ascending] On Caterpillar Tracks

Oldenburg, Claes

First Exhibition Of Campbell's Soup Cans, July 1962

Warhol, Andy

Two Hundred Campbell's Soup Cans

Warhol, Andy

Marilyn Diptych

Warhol, Andy

+ 16mm Kiss

Warhol, Andy

Colored Mona Lisa

Warhol, Andy

+ 16mm Empire

Warhol, Andy

Heinz Box [Tomato Ketchup]

Warhol, Andy

The Car Crash

Dine, Jim

Words

Kaprow, Allan

Household

Kaprow, Allan

Die Fahne Hoch

Stella, Frank

Luis Miguel Dominguin

Stella, Frank

Charlotte Tokayer [Purple Series]

Stella, Frank

very sculptural. Follows the iteral shape with the stripes (depicted shape)

De la Nada Vida a la Nada Muerte

Stella, Frank

reads as rejecting and receding. Stella is slowly turning away from flat shape

Sinjerli Variation IV [Protractor Series]

Stella, Frank

Inspired by the book of Kells. Half circles and bands that overlap. Gets into illusionistic territory. He is denying the flatness of the canvas.

Protractor Variation VIII [Protractor Series]

Stella, Frank

Inspired by the book of Kells. Half circles and bands that overlap. Gets into illusionistic territory. He is denying the flatness of the canvas.

Puerto Rican Blue Pigeon II [Exotic Bird Series]

Stella, Frank

Shoot

Noland, Kenneth

obvious relationship of literal to depicted shape. Depicted shape is a chevron. Shoot is symmetrical, point touhches the center. Peinting is “resolved”. As opposed to sarahs reach which gives a sense of movement.

Bend Sinister

Noland, Kenneth

complementary colors, and the balck recedes. The blues also recede while the warm colors push out.

Rustle

Noland, Kenneth

Cleopatra Flesh

Olitski, Jules

High A Yellow

Olitski, Jules

Night On Cold Mountain

Poons, Larry

Nixes Mate

Poons, Larry

Double Speed

Poons, Larry

Untitled #2

Poons, Larry

Injured By green

Anuszkiewicz, Richard