Event Horizon: Non-Traditional Paintings

Untitled from Edition MAT 64

Niki de Saint Phalle — Mon, 01 Jun 1964 00:00:00 -0400

Title	Untitled from Edition MAT 64
Artist	Niki de Saint Phalle
Date	1964
Institution	Walker Art Center
Location	Not on view.

white ground with 9 circular areas of color from which the color dripped and splattered onto the white area of work.

White Field

Günther Uecker — Mon, 01 Jun 1964 00:00:00 -0400

Title	White Field
Artist	Günther Uecker
Date	1964
Institution	Walker Art Center
Location	Not on view.

Many nails painted white partially driven into a white piece of wood.

Untitled

Raymond Hains — Mon, 01 Jun 1959 00:00:00 -0400

Title	Untitled
Artist	Raymond Hains
Date	1959–1960/2002
Institution	Walker Art Center
Location	Not on view.

Torn advertisement posters adhered to rusted sheet metal, nailed to wood

Peinture acrylique blanche sur tissu rayé blanc et orange (White acrylic painting on white and orange striped fabric)

Daniel Buren — Wed, 01 Jun 1966 00:00:00 -0400

Title	Peinture acrylique blanche sur tissu rayé blanc et orange (White acrylic painting on white and orange striped fabric)
Artist	Daniel Buren
Date	1966
Institution	Walker Art Center
Location	Not on view.

A stretched piece of orange and white striped fabric with white acrylic paint stripes at the left and right edges. Fabric has stitched seams in multiple locations.

A common material: fabric for awnings.

Tue, 09 Feb 2010 15:44:20 -0500

Title	A common material: fabric for awnings.
Author	Abbie Anderson

Tue, 09 Feb 2010 15:44:21 -0500

Title
Author	Abbie Anderson

Trophy II (for Teeny and Marcel Duchamp)

Robert Rauschenberg — Wed, 01 Jun 1960 00:00:00 -0400

Title	Trophy II (for Teeny and Marcel Duchamp)
Artist	Robert Rauschenberg
Date	1960
Institution	Walker Art Center
Location	On view at the Walker Art Center,

Abstract composition incorporating collage elements. Five panels are attached, four vertically and one horizontally. The remaining two canvases are displayed on each side of the attached canvases. Drinking glass in not the original.

Robert Rauschenberg, Trophy II (for Teeny and Marcel Duchamp) (1960)

Tue, 01 Jun 1999 00:00:00 -0400

Title	Robert Rauschenberg, Trophy II (for Teeny and Marcel Duchamp) (1960)
Author	Walker Art Center
Date	1999
Institution	Walker Art Center

Any incentive to paint is as good as any other. There is no poor subject. Painting is always strongest when in spite of composition, color, etc., it appears as a fact, or an inevitability, as opposed to a souvenir or arrangement. Painting relates to both art and life. Neither can be made . . . A pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil, and fabric. --Robert Rauschenberg, 1959

In the early 1950s, Robert Rauschenberg devised a radical new form, blending two- dimensional collage techniques with three-dimensional objects on painted surfaces. Definable neither as sculpture nor painting, these works were dubbed "combines" by the artist to describe their interdisciplinary formal roots. Rauschenberg's combination of found imagery and gestural brushwork places these works between two movements in painting: Abstract Expressionism and Pop Art.

Trophy II (for Teeny and Marcel Duchamp) is one of a series of five combines, all called "trophies," which alluded to the unconventional creative spirit of artists whose work Rauschenberg greatly admired: in this case, Marcel Duchamp and his wife, Teeny. Using found objects, photographs, and paint, the artist considered himself "a collaborator with objects." In this way, he sought to avoid excessive autobiographical readings and instead refers to the dynamics of the urban landscape.

Walker solo exhibition: Robert Rauschenberg: Painting, 1965

Nelson Leirner — Fri, 09 Sep 2011 02:01:42 -0400

Title
Artist	Nelson Leirner
Date	1967
Institution	Walker Art Center
Location	Not on view.

A painting comprised of multiple layers of different colored fabrics each with a horizontal zipper.

How Deep is the Ocean?

Udomsak Krisanamis — Mon, 01 Jun 1998 00:00:00 -0400

Title	How Deep is the Ocean?
Artist	Udomsak Krisanamis
Date	1998
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

strips of newspaper attached to a bed sheet and colored with dark blue and orange ink.

How Deep is the Ocean?

Udomsak Krisanamis — Mon, 01 Jun 1998 00:00:00 -0400

Title	How Deep is the Ocean?
Artist	Udomsak Krisanamis
Date	1998
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

strips of newspaper attached to a bed sheet and colored with dark blue and orange ink.

Analog

Mark Bradford — Tue, 01 Jun 2004 00:00:00 -0400

Title	Analog
Artist	Mark Bradford
Date	2004
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 3

A large scale collage made of printed billboard images and end papers used in hair treatment, coverded with a layer of varnish

Todd Norsten — Fri, 09 Sep 2011 02:02:09 -0400

Title
Artist	Todd Norsten
Date	2008
Institution	Walker Art Center
Location	Not on view.

A text based work in which the painted letters, appear to be created from adhesive tape. Text "Ceaseless Boundless Endless Joy"

Prayer

Siah Armajani — Fri, 01 Jun 1962 00:00:00 -0400

Title	Prayer
Artist	Siah Armajani
Date	1962
Institution	Walker Art Center
Location	Not on view.

Islamic prayer in puzzle-like formations

Prayer

Siah Armajani — Fri, 01 Jun 1962 00:00:00 -0400

Title	Prayer
Artist	Siah Armajani
Date	1962
Institution	Walker Art Center
Location	Not on view.

Islamic prayer in puzzle-like formations

Tue, 09 Feb 2010 15:44:21 -0500

Title
Author	Abbie Anderson

Aeid

Tomma Abts — Thu, 01 Jun 2006 00:00:00 -0400

Title	Aeid
Artist	Tomma Abts
Date	2006
Institution	Walker Art Center
Location	Not on view.

Tue, 09 Feb 2010 15:44:22 -0500

Title
Author	Abbie Anderson

Painting to Hammer a Nail in

Yoko Ono — Thu, 01 Jun 1961 00:00:00 -0400

Title	Painting to Hammer a Nail in
Artist	Yoko Ono
Date	1961/1967
Institution	Walker Art Center
Location	Not on view.

A glass hammer attached with a chain to a steel plate pierced by nail.

Yoko Ono, Painting to Hammer a Nail In (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Yoko Ono, Painting to Hammer a Nail In (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Yoko Ono, Painting to Hammer a Nail In (track 2)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Yoko Ono, Painting to Hammer a Nail In (track 2)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Concetto Spaziale - Attesa (Spatial Concept - Expectation)

Lucio Fontana — Mon, 01 Jun 1964 00:00:00 -0400

Title	Concetto Spaziale - Attesa (Spatial Concept - Expectation)
Artist	Lucio Fontana
Date	1964–1965
Institution	Walker Art Center
Location	Not on view.

a white painting with a long, narrow, vertical slash.

Concetto Spaziale (Spatial Concept)

Lucio Fontana — Sat, 01 Jun 1968 00:00:00 -0400

Title	Concetto Spaziale (Spatial Concept)
Artist	Lucio Fontana
Date	1968
Institution	Walker Art Center
Location	Not on view.

a white painted canvas with a central hole. around the edges of the hole paint is applied thickly.

artist's quote

Sat, 01 Jun 1946 00:00:00 -0400

Title	artist's quote
Author	Lucio Fontana
Date	1946
Institution	Walker Art Center

We are living in the mechanical age. Painted canvas and standing plaster figures no longer have any reason to exist. What is needed is a change in both essence and form. What is needed is the supercession of painting, sculpture, poetry, and music. It is necessary to have an art that is in greater harmony with the needs of the new spirit. Lucio Fontana, 1946

Untitled

Kazuo Shiraga — Mon, 01 Jun 1959 00:00:00 -0400

Title	Untitled
Artist	Kazuo Shiraga
Date	1959
Institution	Walker Art Center
Location	Not on view.

A painting in which the artist used his feet to spread very thick red, brown, and black paint on the canvas

Kazuo Shiraga, Untitled (1959)

Sat, 01 Jun 2002 00:00:00 -0400

Title	Kazuo Shiraga, Untitled (1959)
Author	Walker Art Center
Date	2002
Institution	Walker Art Center

Kazuo Shiraga is a member of the avant-garde movement in Japan known as the Gutai Art Association. Established in the summer of 1954, the group sought to create a new art "never known until now." Gutai, which means "embodiment," has similarities to the Action Painting of New York in the 1950s, but is uniquely influenced by its own time and place--postwar Japan. Coming out of that country's surrender in World War II, Gutai practitioners desired an art free of social criticism or political implication. Their artistic process combined action and performance with painting. Unlike Happenings in Europe and America, Gutai events were meant to result in the creation of sculptures and paintings.

During the first Gutai exhibition in 1955, Shiraga dove into a pile of mud and wrestled, kicked, and thrashed the clay mound to create an artwork sculpted by physical action. In this painting, Shiraga used his body as a tool--this time a large paint brush. Swinging from a hanging rope, he used his bare feet to apply paint onto a canvas on the floor. The finished work depicts his random spins, swirls, and slips.

Kazuo Shiraga, Untitled (1959)

Tue, 01 Jun 1999 00:00:00 -0400

Title	Kazuo Shiraga, Untitled (1959)
Author	Walker Art Center
Date	1999
Institution	Walker Art Center

With this recently acquired painting, the Walker adds to its collection a work representative of an important avant-garde art movement that is not very well known in the United States: the Gutai Art Association. Gutai, which means "embodiment," has similarities to the Action Painting of New York in the 1950s, but is uniquely influenced by its own time and place--postwar Japan.

Established in the summer of 1954, the group formed around artist Jiro Yoshihara in Osaka and sought to create a new art "never known until now." Coming out of Japan's surrender in World War II, Gutai artists desired an art free of social criticism or political implication. Their first exhibition was in 1955 and featured a performance wherein Shiraga dove into a pile of mud and wrestled, kicked, and thrashed the clay mound to create an artwork sculpted by physical action.

Unlike Allan Kaprow's Happenings in Europe and America--which weren't to emerge for another two years--Gutai artists intended their performances to result in the creation of sculptures and more prominently, paintings. Shozo Shimamoto threw bottles of paint onto paper spread on the floor. Saburo Murakami thrust his body through packing paper stretched over frames, and painted by throwing paint-covered balls at the canvas. In this untitled painting, Shiraga used his bare feet to apply the paint onto a piece of canvas on the floor. Grasping a hanging rope, he dipped and swung himself through the thick, wet oil paint. The finished painting depicts his random spins, swirls, and slips.

Shiraga Kazuo, Untitled (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Shiraga Kazuo, Untitled (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Walker curator, Philippe Vergne.

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Philippe Vergne discusses Kazuo Shiraga's Untitled (1959)

Tue, 01 Jun 1999 00:00:00 -0400

Title	Philippe Vergne discusses Kazuo Shiraga's Untitled (1959)
Author	Philippe Vergne
Date	September 1999
Institution	Walker Art Center

When Kazuo Shiraga started to work post-war, too in the 1950s, with the Gutai Group in Japan, in the same way then, the Viennese artists from the Aktionist Movement were considered as one of the first modern movements in Vienna, we can think that Gutai could be considered as the first modern movement in the history of twentieth century art in Japan. It was a group of people in the same way they were willing to challenge painting through action. As you can see in this painting by Kazuo Shiraga, it's something which is related to action. The painting is a trace, is a record, of something which was done live. In the same way that Otto Muehl is no more about representation, it's about a dynamic movement, just to inform you about the way the painting was made, Shiraga was painting with his feet, which can seem funny but it was a statement to show how the painting could ...testify of something which was linked to the body of the artist, which is important in this painting, in this movement in that we are dealing with a group of artists who are offering from a total other part of the world something which was challenging a modern model. It's important for us also to have this painting in the institution, because it's not Pollock but it's something which is challenging Pollock, which is offering an option to Pollock. It's linked to performing art among all the activities that the Gutai Group was doing: performing art, theater, music. People like composer Takehisa Kosugi ... all these people were working together. When we know the history of the Walker with performing art ... we know, for example, that Kosugi is now the official composer for Merce Cunningham. You have an history which is coming together through these different names. I think it's also an important piece for the Walker because the Walker will do, in a few months, a Gutai retrospective and, also, because if we start to look at Gutai, you cannot take away what was the historical situation, what was also literature in Japan, and I think when you look at this kind of painting you cannot not think about someone like Mishima. And when you look at Muehl, for me, it's the same thing, you can think about the same political protest.

Joan Rothfuss discusses Lucio Fontana's , Concetto Spaziale--Attesa (Spatial Concept--Expectation) (1964-1965)

Tue, 01 Jun 1999 00:00:00 -0400

Title	Joan Rothfuss discusses Lucio Fontana's , Concetto Spaziale--Attesa (Spatial Concept--Expectation) (1964-1965)
Author	Joan Rothfuss
Date	September 1999
Institution	Walker Art Center

I'm going to start by talking about Lucio Fontana. The painting, Concetto Spaziale, that we start out the exhibition with is representative, I think, of an incredibly radical shift in the way that artists approach painting. Since the beginning of the century, artists have been trying to find a way to make paintings that did not deal with space as illusion. The whole history of painting since the beginning of history, when people started marking on things and making paintings, usually involved architecture. The paintings were attached to walls of buildings. They were drawings within churches or private homes. It wasn't until the Renaissance, when oil paint was invented, that artists started to make paintings as objects. To be able to move the paintings from one wall to another within an architectural space was a new thing. At the time that they did this, they began to think about paintings as windows and talked about paintings as windows out into another kind of reality. So, since the middle of the fourteenth century really, artists had been dealing with painting in essentially the same way, which was as a way of looking outside of the reality that they were standing in.

What Fontana did and a lot of artists did as well elsewhere, in the United States and Japan and in other parts of Europe, was to try to find a way to challenge that, to allow people to understand that the painting was actually a wall. It was not a window. It was something that you were faced with and that didn't allow you to look out. Artists like Picasso and the surrealists had started to break that down by changing the kind of reality that you were seeing through the so-called window. But, Fontana really did the radical thing, which was to call your attention to the surface and say, "This is actually a flat plane and that's what you're looking at. You're not looking at anything that's an illusion." By slashing it, which was kind of a violent act to perform on the painting, he was trying to bring in the space behind the painting. He was trying to allow that space to become part of the space of the painting. So, in other words, there was no illusion anymore. It's almost like painting as sculpture, painting as an object. It's a very simple gesture that he's made, but I think a very provocative one. It certainly has a lot to do with the time that he started making these, which was immediately post-war in Italy, which had been involved, of course, heavily in all of the destruction and fighting. Artists in Europe and in Japan and the United States were trying to find ways to make paintings responsibly in the wake of this incredible disaster. The ones that were made by Fontana working in Italy and Shiraga working in Japan were more violent than those that were made, let's say, in the United States and, perhaps, there's some contextual reason for that. Fontana's painting as sculpture and painting as gesture, which is what he talked about in terms of the performative aspect, was something very new and something that had a lot of implications for the artists that came after him working for the next few generations here and in Europe.

I think Fontana's influence was recognized immediately. It was very early. Fontana started doing these in the late 1940s and this was before Pollock even started doing drip paintings here. It was certainly well before Manzoni and Kline and others started working radically to change the kind of pictures that had been make. So, I think he had a lot of influence on those artists that immediately followed him and his thoughts were incorporated pretty quickly into what was going on in Europe in avant-garde painting.

Schüttbild (Poured Picture)

Hermann Nitsch — Sat, 01 Jun 1963 00:00:00 -0400

Title	Schüttbild (Poured Picture)
Artist	Hermann Nitsch
Date	1963
Institution	Walker Art Center
Location	Not on view.

A red paint splash and footprints on canvas

Hermann Nitsch, Schüttbild (Poured Picture) (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Hermann Nitsch, Schüttbild (Poured Picture) (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Suaire de Mondo Cane (Mondo Cane Shroud)

Yves Klein — Thu, 01 Jun 1961 00:00:00 -0400

Title	Suaire de Mondo Cane (Mondo Cane Shroud)
Artist	Yves Klein
Date	1961
Institution	Walker Art Center
Location	Not on view.

An Anthropométrie (Anthropometry) painting, likely a rehearsal work created before the filming of Mondo Cane.

Shoestring Potatoes Spilling from a Bag

Claes Oldenburg — Wed, 01 Jun 1966 00:00:00 -0400

Title	Shoestring Potatoes Spilling from a Bag
Artist	Claes Oldenburg
Date	1966
Institution	Walker Art Center
Location	Not on view.

Oven-Pan

Yayoi Kusama — Sat, 01 Jun 1963 00:00:00 -0400

Title	Oven-Pan
Artist	Yayoi Kusama
Date	1963
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

bronze colored potato-like forms protruding from a metal pan with a wire spatula resting on top

Accumulation of Spaces (No. B.T.)

Yayoi Kusama — Sat, 01 Jun 1963 00:00:00 -0400

Title	Accumulation of Spaces (No. B.T.)
Artist	Yayoi Kusama
Date	1963
Institution	Walker Art Center
Location	Not on view.

two shades of white, round adhesive labels covering an entire sheet of white paper

Four Geometric Figures in a Room

Sol LeWitt — Fri, 01 Jun 1984 00:00:00 -0400

Title	Four Geometric Figures in a Room
Artist	Sol LeWitt
Date	1984
Institution	Walker Art Center
Location	Not on view.

Blue shapes outlined in yellow on an orange red field

Red Yellow Blue III

Ellsworth Kelly — Wed, 01 Jun 1966 00:00:00 -0400

Title	Red Yellow Blue III
Artist	Ellsworth Kelly
Date	1966
Institution	Walker Art Center
Location	Not on view.

three canvases one red, one yellow, and one blue installed with a distance of 10 inches between them.

Big Self-Portrait

Chuck Close — Thu, 01 Jun 1967 00:00:00 -0400

Title	Big Self-Portrait
Artist	Chuck Close
Date	1967–1968
Institution	Walker Art Center
Location	Not on view.

self-portrait of the artist

Kiki

Chuck Close — Tue, 01 Jun 1993 00:00:00 -0400

Title	Kiki
Artist	Chuck Close
Date	1993
Institution	Walker Art Center
Location	Not on view.

Reverse: keyed stretcher system. Left and right stretcher bars-two D rings each side. Upper and Lower stretcher bars-2 Oz clips each bar. Five plates on horizontal bars to support joins. Stickers: reverse ML: "The Pace Gallery Recent Works Chuck Close October 22-November 27, 1993"

Third Eye Vision

Chris Ofili — Tue, 01 Jun 1999 00:00:00 -0400

Title	Third Eye Vision
Artist	Chris Ofili
Date	1999
Institution	Walker Art Center
Location	On view at the Walker Art Center,

A decorative patterned painting. Deep layers of paint and magazine image collage covered with heavy layer of resin. Attached at the center of the canvas is a sphere of elephant dung . On the dung sphere, in beads, is an image of an eye. The painting stands on two dung balls, left beaded with the work "Third", right beaded with the word "Eye"

Diamond Dust Joseph Beuys

Andy Warhol — Sun, 01 Jun 1980 00:00:00 -0400

Title	Diamond Dust Joseph Beuys
Artist	Andy Warhol
Date	1980
Institution	Walker Art Center
Location	Not on view.

repeating image of J. Beuys in black and black sparkle dust.

Andy Warhol, Diamond Dust Joseph Beuys (1980)

Tue, 01 Jun 1999 00:00:00 -0400

Title	Andy Warhol, Diamond Dust Joseph Beuys (1980)
Author	Walker Art Center
Date	1999
Institution	Walker Art Center

When I die I don't want to leave any leftovers. I'd like to disappear. People wouldn't say he died today, they'd say he disappeared. But I do like the idea of people turning into dust or sand, and it would be very glamorous to be reincarnated as a big ring on Elizabeth Taylor's finger.--Andy Warhol, 1975

Though German artist Joseph Beuys' (1921-1986) art is formally and thematically quite different from Andy Warhol's, the two artists are frequently linked by critics who perceive them as possessing an almost alchemical ability to transform ordinary objects into valuable artworks. Both artists made work about the other. They never were close friends, but displayed an elaborate and wily respect for each other. Their first official meeting was in Düsseldorf in 1979; Warhol recorded the event in a snapshot of Beuys' face that would soon materialize in a number of striking portraits, including this negative image flecked with glittery "diamond" dust. Warhol's images of Beuys are among his many portraits of historical figures and celebrities, including Vladimir Lenin, Chairman Mao, Ludwig van Beethoven, Marilyn Monroe, Jacqueline Kennedy, Grace Kelly, Elvis Presley, and Queen Elizabeth II.

Walker solo exhibition: Andy Warhol Drawings, 1942-1987, 1999

Frau Herbst und ihre zwei Töchter (Mrs. Autumn and Her Two Daughters)

Sigmar Polke — Sat, 01 Jun 1991 00:00:00 -0400

Title	Frau Herbst und ihre zwei Töchter (Mrs. Autumn and Her Two Daughters)
Artist	Sigmar Polke
Date	1991
Institution	Walker Art Center
Location	Not on view.

Group of 3 women UL composed of black outlines cutting and sprinkling paper onto a mountain which is being approached by a man and 2 mules LL Right side of canvas is void of any objects just white paint, black wash, and raw fabric.

Emanation

Anselm Kiefer — Fri, 01 Jun 1984 00:00:00 -0400

Title	Emanation
Artist	Anselm Kiefer
Date	1984-1986
Institution	Walker Art Center
Location	Not on view.

Event Horizon: Non-Traditional Paintings

Untitled from Edition MAT 64

Untitled from Edition MAT 64

1964

White Field

White Field

1964

Untitled

Untitled

1959–1960/2002

Peinture acrylique blanche sur tissu rayé blanc et orange (White acrylic painting on white and orange striped fabric)

Peinture acrylique blanche sur tissu rayé blanc et orange (White acrylic painting on white and orange striped fabric)

1966

A common material: fabric for awnings.

A common material: fabric for awnings.

Trophy II (for Teeny and Marcel Duchamp)

Trophy II (for Teeny and Marcel Duchamp)

1960

Robert Rauschenberg, Trophy II (for Teeny and Marcel Duchamp) (1960)

Robert Rauschenberg, Trophy II (for Teeny and Marcel Duchamp) (1960)

Walker Art Center

1999

1967

How Deep is the Ocean?

How Deep is the Ocean?

1998

How Deep is the Ocean?

How Deep is the Ocean?

1998

Analog

Analog

2004

2008

Prayer

Prayer

1962

Prayer

Prayer

1962

Aeid

Aeid

2006

Painting to Hammer a Nail in

Painting to Hammer a Nail in

1961/1967

Yoko Ono, Painting to Hammer a Nail In (track 1)

Yoko Ono, Painting to Hammer a Nail In (track 1)

Art on Call

November 19, 2009

Yoko Ono, Painting to Hammer a Nail In (track 2)

Yoko Ono, Painting to Hammer a Nail In (track 2)

Art on Call

November 19, 2009

Concetto Spaziale - Attesa (Spatial Concept - Expectation)

Concetto Spaziale - Attesa (Spatial Concept - Expectation)

1964–1965

Concetto Spaziale (Spatial Concept)

Concetto Spaziale (Spatial Concept)

1968

artist's quote

artist's quote

Lucio Fontana

1946

Untitled

Untitled

1959

Kazuo Shiraga, Untitled (1959)

Kazuo Shiraga, Untitled (1959)

Walker Art Center

2002

Kazuo Shiraga, Untitled (1959)

Kazuo Shiraga, Untitled (1959)

Walker Art Center

1999

Shiraga Kazuo, Untitled (track 1)

Shiraga Kazuo, Untitled (track 1)

Art on Call

November 19, 2009

Philippe Vergne discusses Kazuo Shiraga's Untitled (1959)

Philippe Vergne discusses Kazuo Shiraga's Untitled (1959)