Brice Marden
Adriatics (A), 1973, Etching with aquatint, 32 9/16 x 22 1/4 inches
Adriatics (B), 1973, Etching with aquatint, 32 5/8 x 22 1/4 inches
Adriatics (C), 1973, Etching with aquatint, 32 1/2 x 22 3/16 inches
Adriatics (D), 1973, Etching with aquatint, 34 3/8 x 23 7/8 inches
Adriatics (E), 1973, Etching, 34 3/8 x 23 7/8 inches
Adriatics (F), 1973, Etching, 32 9/16 x 36 3/8
Adriatics (G), 1973, Etching, 32 5/8 x 36 inches
(via nickelsonwooster)
Michael Craig-Martin
Six Foot Balance With Four Pounds of Paper, 1970
Mild steel, paper (lithograph) and lead. 109.5 x 195.3 x 8.8cm
Michael Craig-Martin
An Oak Tree, 1973
installation in the Tate Modern, London
Michael Craig-Martin’s 1973 conceptual artwork An Oak Tree presents a glass of water with a plaque explaining that it’s a tree — not symbolically but literally: “The actual oak tree is physically present but in the form of the glass of water.”
This is a comment on transubstantiation and, by extension, on the patron’s faith in an artist’s presentation of his work, but it backfired: When the National Gallery of Australia bought the piece in 1977, customs officials barred it as “vegetation.”
via Futility Closet
RYOJI IKEDA
The Transfinite
Christo and Jeanne-Claude
Wrapped Coast, 1968-69
one million square feet, Little Bay, Sydney, Australia
Eric Cahan
40.862134,-72.408872 Sunset 6:34pm, 2013
C-print mounted on dibond in lquid glass
30 × 25 × 2 in
via artsy
Daniel Rozin
Angles Mirror, 2013
465 plastic spokes, motors, video camera, control electronics, custom software, microcontroller, steel armature
7.7 x 7 x 3 ft / 2.35 x 2.13 x .93 m
Revelator, 2010
mixed media on birch & alder, 38x25x4”
Cairn, 2010
mixed media on birch & alder, 20x16x6”
Mitch Payne
Diffraction
Diffraction is a photograph series created by Mitch Payne, consisting in several abstract colorful compositions made using opaque and transparent forms and shapes where the light is reflected
via Triangulation
Darsha Hewitt
Electrostatic Bell Choir, 2012
The Electrostatic Bell Choir is an electromechanical sound installation that plays with the static electricity emitted from CRT television monitors found in the trash. This static (that can be felt when one places their hand on the screen when the TV is turned on) is gleaned for its potential to generate subtle movement and is used as the driving kinetic force in the artwork.
For this work, pith balls and chimes from old grandfather clocks and rotary telephones are suspended in front of an assembly of vintage television sets. A control circuit cycles the TVs on and off in alternating sequences which causes static to build up on the monitors. This static charge agitates the hanging pith balls, causing them to waver and lightly strike the bells - resulting in quasi-melodic bell compositions. The TVs are muted and tuned to various channels of white noise
