Monday, April 28, 2014

Andrea Zittel: Investigating freedom






Andrea Zittel
Image 1-3 from top: Inhabitable sculptures – A-Z wagon stations
Bottom: A-Z Carpet Furniture: Cabin

"Blurring the line between art and life, american artist Andrea Zittel’s fascinating experiments in functional living showcase her preoccupation with self-sufficiency and adaptability. Since a decade she has been creating minimal self-sufficient dwelling spaces in which everyday actions such as sleeping, eating, cooking, bathing and socializing are transformed into acts of art."

Text from www.designboom.com Follow the link to read the full article.
Images via www.designboom.comwww.artnet.com and www.afterall.org

Saturday, April 12, 2014

Body, action and space: Franz Erhard Walther






Franz Erhard Walther
Drei Sockel. Vier Standstellen. Zwei Schreitbahnen, 1975
Ten Meters Twice (sidesteps), 1977
Opposite and Laterally Space Circuit, 1976
Action Piece
55 Handlungsbahnen 

Since the 60s, Walther has used the body as material for his textile sculptures. He invites the observers to participate in his work, through the use and rearranging of the forms presented. New connections appear.

Photos via:


Tuesday, April 8, 2014

Josef Albers: Structural Constellations




Josef Albers
F.M.E 5, 1962
Structural Constellation, ca. 1950
Structural Indication, 1948
All: Machine engraving on laminated plastic

Josef Albers is one of those great Bauhaus Artists I rediscover from time to time. We recently used som of his color exercises in a drawing class where I teach, and during research, I found the wonderful website albersfoundation.org They not only have great photos, but texts, lectures, and films with Josef and Annie Albers. A great resource, highly recommended!

Mono-ha






From the top:
Nobuo Sekine Phase-Mother Earth 1968
Lee Ufan Relatum 1968
Kishio Suga Limitless Condition 1971
Susumu Koshimizu Paper 1969
Noboru Takayama Yuusatsu 1973

Mono-ha was a japanese art movement in the sixties and seventies, related to concept and minimal art. They investigated the material as a thing in itself, how it lies, stands or just is, and how it relates to other materials and the surrounding space. 

(Photos via www.tokyoartbeat.com, there you can also find out more abuot Mono-ha)

Saturday, April 5, 2014

Unfolded origami III: Gerd Tinglum

My former professor in art school, made these beautiful works:


Gerd Tinglum
Guards 1991
Pigment and lacquer on paper

Unfolded origami II: Dorothea Rockburne






Dorothea Rockburne 
Locus, 1972
Relief etchings with aquatints on folded paper

Conservation Class #9 1973 
Graphite on paper mounted on gessoed masonite

Copal VIII  1978
Kraft paper, Copal oil varnish, blue pencil, Mylar tape and glue on ragboard

Golden Section Painting: Square Separated by Parallellogram 1974
Gesso and blue pencil on sized, glued, and folded linen

More on Dorothea Rockburne: www.dorothearockburne.com

Unfolded origami I: Dóra Maurer

I absolutely love these unfolded-origami-ish works. Poetic geometry! Great minds think alike: I'll post works by three great artists this weekend. First up ...


Dóra Maurer 
Hidden Structures 1,2 and 6 1977-1980
Graphite on paper

Images via moma.org





Friday, April 4, 2014

Imi Knoebel: Raum 19





Imi Knoebel
Raum 19 (Room 19) 1968
Masonite, wood, multipart work

‘Room 19' from 1968 - (is) a large installation in four parts made of wood, in which Knoebel first introduced a core principle of his work: the principle of layering individual elements which then combine in ever new variations, in pictures and spatial compositions.

Images via wouter davidts archive
Text/image at the top via artnews

Dóra Maurer Tracing Space





Dóra Maurer 
Tracing Space I, Tracing Space II, and Plan 1979
Gelatin silver prints and graphite

Since the 1970s, Maurer has explored the nature of space and movement though the use of serial sequences of images, signs, and language. Working in photography, film, and graphic design, she makes art based on mathematical and conceptual processes, often reversing, repeating, and repositioning objects for the camera. In Tracing Space I, II and Plan, the artist applied this serial process of observation to her studio, moving around the space while photographing it. The pictures, presented with her plan for taking them, reveal the connection between structure (or intent) and spontaneity (what the camera actually recorded). Maurer’s process–oriented oeuvre unites the concrete and the conceptual in a manner that suggests the centrality of perspective—in art, as in life.

Text from moma.org