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Showing 1-20 of 154 results

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  1. Article
    Sophie Halart

    As an Argentine artist based in New York for most of the second half of the twentieth century, Liliana Porter’s work has reflected the dominant...

  2. Article
    Sophie Halart

    In an analysis of Liliana Porter’s work, critic and curator Inés Katzenstein remarks on its ability to never quite fit into any fixed category: [W...

  3. Article

    We are grateful to Sophie Halart for her development of this project, and to Allen Fisher for his valuable contribution to the research. Sophie...

  4. Article
    Allen Fisher

    Emmett Williams was a poet and performance artist who worked with a variety of artists, often as part of the amorphous conceptual art group Fluxus,...

  5. Article
    Sophie Halart

    Following her move to New York in 1964, Liliana Porter studied printmaking at the Pratt Graphic Arts Center in Manhattan. It was while attending...

  6. Article
    Sophie Halart

    The Argentine artist Liliana Porter has developed a multifaceted body of work since the 1960s, using engraving, photography, installation and...

  7. Article
    Sophie Halart

    Liliana Porter’s Wrinkle 1968 recasts printmaking as a conceptual art form rather than a labour-intensive craft.

  8. Article
    Elissa Auther

    A good Hofmann has to have a surface somewhere between ice cream, chocolate, stucco, and flock wallpaper. Its colors have to reek of Nature – of...

  9. Article
    Emily Warner

    Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space...

  10. Article
    Emily Warner

    What are Hans Hofmann’s legacies – his meaning, or meanings, for subsequent artists, historians and critics? If the answer is unclear today, it was...

  11. Article
    Emily Warner

    Hans Hofmann’s Pompeii 1959 (Tate T03256) met its first viewers in January 1960, at the Samuel Kootz Gallery in midtown Manhattan, as one of...

  12. Article
    Emily Warner

    How do we make sense of Hans Hofmann’s Pompeii 1959 (Tate T03256; fig.1) – a vibrating, flowering canvas, thick with accreted paint slabs and...

  13. Article
    Emily Warner

    Pompeii 1959 gained an international reputation in the 1960s, representing Hans Hofmann and his ‘slab’ paintings across the US, Europe and South...

  14. Article

    We are grateful to Emily Warner for her development of this project, and to Elissa Auther for her valuable contribution to the research. Emily...

  15. Article
    Randall Edwards

    The world is a sphere, and that’s our boundary, our physical boundary. So we grow out of the studio. We could just spend our life widening our...

  16. Article
    James Nisbet

    Standing at one corner of his 50 x 100 ft (15 x 30 m) rectangle of baker’s salt in a large colour photograph in Tate’s version of Salt Flat 1968 ...

  17. Article
    John R. Blakinger

    In the brief introduction to Great Western Salt Works: Essays on the Meaning of Post-Formalist Art, his 1974 collection of essays that originally...

  18. Article
    John R. Blakinger

    In existing studies of Dennis Oppenheim’s Salt Flat 1968 (Tate T01773), and land art more generally, the sites the artist engages with are often...

  19. Article
    John R. Blakinger

    On 28 November 1968 Dennis Oppenheim spread one thousand pounds (454 kilograms) of salt over an empty asphalt parking lot at 6th Avenue between...

  20. Article
    John R. Blakinger

    This In Focus explores Oppenheim’s Salt Flat through the systems aesthetics of critic Jack Burnham, showing how the artist’s seemingly...

Showing 1-20 of 154 results

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