Installation view of the exhibition Black Moutnain College: The Experimenters, at David Zwirner in London, dated 2023
Installation view of the exhibition Black Moutnain College: The Experimenters, at David Zwirner in London, dated 2023

Black Mountain College: The Experimenters

David Zwirner is pleased to announce Black Mountain College: The Experimenters, a group exhibition on view in The Upper Room at the gallery’s London location. Presented in tandem with Josef Albers: Paintings Titled Variants, displayed on the gallery’s ground and first floors, this exhibition will bring together works by a group of artists whose groundbreaking career trajectories were informed by the rich visual and intellectual innovations that emerged around Black Mountain College, the famed experimental liberal arts school in rural North Carolina that in the 1930s and 1940s became, as the writer Amanda Fortini recounts, “the site of a genius cluster.”

Presented in tandem with Josef Albers: Paintings Titled Variants.

Image: Installation View, Black Mountain College: The Experimenters, David Zwirner, London, 2023

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Dates
February 28April 15, 2023
Opening Reception
Tuesday, February 28, 6—8pm
Gallery Hours
Tues—Sat 10am–6pm
Artist
Including, Anni Albers, Josef Albers, Leo Amino, Ruth Asawa, Elaine de Kooning, Willem de Kooning, Buckminster Fuller, Sue Fuller, Sheila Hicks, Ray Johnson

This exhibition features work by a group of artists who overlapped at Black Mountain College in the mid- to late 1940s—including Anni Albers, Josef Albers, Leo Amino, Ruth Asawa, Elaine de Kooning, Buckminster Fuller, and Ray Johnson, as well as figures such as Sue Fuller and Sheila Hicks, who studied with and befriended members of this group at other notable institutions during the same period—and examines the threads of creative exchange that were interwoven when the paths of these teachers, pupils, and colleagues crossed.

A photo of Josef Albers drawing a lily for his class, dated April 1942.

Josef Albers drawing a lily for his class, April 1942. Photo by Tom Leonard. Courtesy of Western Regional Archives, State Archives of NC

Josef Albers drawing a lily for his class, April 1942. Photo by Tom Leonard. Courtesy of Western Regional Archives, State Archives of NC

One of the most influential abstract painters of the twentieth century, Josef Albers (1888–1976) bridged European and American Modernism throughout his artistic career. Albers was a legendary teacher at the Bauhaus until 1933 when he and his wife Anni Albers emigrated to North Carolina, where they founded the art department at Black Mountain College.

A print by Josef Albers, titled Tlaloc, dated 1944.

Josef Albers

Tlaloc, 1944
Woodcut in rough pine board on Japanese paper
Image: 12 x 12 1/2 inches (30.5 x 31.8 cm)
Sheet: 15 x 14 1/2 inches (38.1 x 36.8 cm)
Framed: 17 1/8 x 17 7/8 inches (43.5 x 45.5 cm)
“We do not always create ‘works of art,’ but rather experiments; it is not our ambition to fill museums: we are gathering experience.”

 

—Josef Albers, Leap Before You Look: Black Mountain College 1933–1957

A photo of Anni Albers in her weaving studio at Black Mountain College, dated 1937

Anni Albers in her weaving studio at Black Mountain College, 1937. Photo by Helen M. Post. Courtesy Western Regional Archives, State Archives of NC

Anni Albers in her weaving studio at Black Mountain College, 1937. Photo by Helen M. Post. Courtesy Western Regional Archives, State Archives of NC

Known for her pioneering graphic wall hangings, weavings, and designs, Anni Albers (née Annelise Fleischmann; 1899–1994) is regarded as one of the most important abstract artists of the twentieth century. Also a distinguished alumna and Bauhaus instructor, Albers played an essential role during her time at Black Mountain College. She elaborated on the technical innovations she devised at the Bauhaus, developing a specialized curriculum that integrated weaving and industrial design.

A drawing by Anni Albers, called Untitled, n.d.

Anni Albers

Untitled, n.d.
Felt-tip pen on tracing paper
11 3/4 x 9 inches (29.8 x 22.8 cm)
Framed: 14 5/8 x 12 5/8 inches (37.1 x 32.1 cm)

In addition, works on paper played a significant role in her practice, particularly after 1963 when she largely moved away from weaving to focus on printmaking. As in the present work, Albers often created designs from conglomerations of meandering or tangled lines that recall the intertwined threads of her weavings.

A drawing by Anni Albers, titled Wall V, dated 1983.

Anni Albers

Wall V, 1983
Watercolor on screenprint
28 1/2 x 22 1/2 inches (72.4 x 57.2 cm)
Framed: 31 x 25 inches (78.7 x 63.5 cm)

Wall V (1983) belongs to Albers's "Wall series" of 15 unique screenprints with watercolor, one of her final printmaking efforts. By this time, the artist's health began to decline and she had developed a tremor. Instead of trying to disguise this shakiness, she incorporated it into the composition of her work.

A photo of Eileen Darby and Sue Fuller, circa 1950.

Sue Fuller, c. 1950. Photo by Eileen Darby. Brooklyn Museum Archives. Department of Prints, Drawings and Photographs

Sue Fuller, c. 1950. Photo by Eileen Darby. Brooklyn Museum Archives. Department of Prints, Drawings and Photographs

Sue Fuller’s (1914–2006) work testifies to the often-overlooked influence of craft traditions on the development of modernist abstraction. She created prints by pressing lace, fabric, and netting into the soft wax that coats the etching plate.

A work on paper by Sue Fuller, titled New York, New York!, dated 1949.

Sue Fuller

New York, New York!, 1949
Watercolor on paper
20 1/8 x 15 inches (51 x 38 cm)
Framed: 27 3/4 x 22 1/2 inches (70.5 x 57 cm)

Frustrated with the limitations of manufactured textiles, she experimented with stretching and ripping pieces of lace to create more unusual designs. Eventually, the etching became an unnecessary step in Fuller’s work and she began to focus purely on creating sculptures from woven and wound patterns of threads.

A print by Sue Fuller, titled New York, New York!, dated 1950.

Sue Fuller

New York, New York!, 1950
Lithograph on paper
21 x 15 inches (53.5 x 38 cm)
Framed: 28 1/2 x 20 7/8 inches (72.5 x 53 cm)
A painting by Sue Fuller, titled String Composition #81, dated 1957.

Sue Fuller

String Composition #81, 1957
Polypropylene thread on raw canvas and linen in artist's frame
24 3/8 x 36 3/8 inches (62 x 92.5 cm)
“Black Mountain participants’ ambitions to transform habits of perception, systems of intention, and patterns of tradition have essential implications for understanding not only modernist but subsequent art practices.”

 

—Eva Díaz, The Experimenters: Chance and Design at Black Mountain College

A photo of Buckminster Fuller next to a model of his Dymaxion house.

Architect Buckminster Fuller next to a model of his Dymaxion house, March 17, 1930. Photo by Bettmann Archive/Getty Images

Architect Buckminster Fuller next to a model of his Dymaxion house, March 17, 1930. Photo by Bettmann Archive/Getty Images

Buckminster Fuller (1895–1983) was a renowned American designer and philosopher known for his groundbreaking inventions. Some of his best-known inventions include the geodesic dome, the futuristic Dymaxion house, and the Montreal Biosphere. His ideas and work went on to influence many artists and designers, such as John Cage and Ruth Asawa.

A work on paper by Buckminster Fuller, titled Dymaxion House, dated 1928.

Buckminster Fuller

Dymaxion House, 1928
Graphite on tracing paper
18 1/2 x 13 1/2 inches (47 x 34.3 cm)
Framed: 25 1/2 x 20 3/8 inches (64.8 x 51.8 cm)

Conceived and designed in the late 1920s, the Dymaxion House was Fuller’s solution to the need for a mass-produced, affordable, easily transportable, and environmentally efficient house. The word “Dymaxion” was coined by Fuller through the combination of three of his favorite words: dynamic, maximum, and tension. Although never built, the Dymaxion's design displayed forward-thinking and influential innovations in prefabrication and sustainability. The house was to be constructed from aluminum due to the material's great strength, low weight, and minimum maintenance.

Installation view of the exhibition Black Moutnain College: The Experimenters, at David Zwirner in London, dated 2023

Installation view, Black Mountain College: The Experimenters, David Zwirner, London, 2023

Installation view, Black Mountain College: The Experimenters, David Zwirner, London, 2023

American artist, educator, and arts activist Ruth Asawa (1926–2013) is known for her extensive body of wire sculptures that challenge conventional notions of material and form through their emphasis on lightness and transparency. Asawa's time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn.

A photo of Ruth Asawa with her work "Hanging Sculpture," dated 1951.

Ruth Asawa with Hanging Sculpture, 1951. Image © 2023 Imogen Cunningham Trust/Courtesy www.ImogenCunningham.com. Artwork © 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York

Ruth Asawa with Hanging Sculpture, 1951. Image © 2023 Imogen Cunningham Trust/Courtesy www.ImogenCunningham.com. Artwork © 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York

A copper wire sculpture by Ruth Asawa, called Untitled (S.350, Hanging Two Interlocking Forms with Fluted Edges), circa 1960s.

Ruth Asawa

Untitled (S.350, Hanging Two Interlocking Forms with Fluted Edges), 1960s
Hanging sculpture—copper wire
8 x 12 x 12 inches (20.3 x 30.5 x 30.5 cm)

Asawa began making her looped-wire sculptures in the late 1940s, while still a student at Black Mountain. During the summer of 1947, Asawa traveled to Toluca, Mexico, where she taught art to children and adults. It was over the course of this trip that local craftsmen showed her how to create baskets out of wire, teaching her the looping technique that she would at first clumsily replicate, but quickly learned how to use to create increasingly complex compositions.

A brass wire sculpture by Ruth Asawa, called Untitled (S.381, Hanging Tied-Wire, Double-Sided, Center-Tied, Three-Branched Form Based on Nature), circa 1965.

Ruth Asawa

Untitled (S.381, Hanging Tied-Wire, Double-Sided, Center-Tied, Three-Branched Form Based on Nature), c. 1965
Hanging sculpture—brass wire
9 x 9 x 5 3/4 inches (22.9 x 22.9 x 14.6 cm)
"By the early to mid-1950s, Asawa's commitment to manual engagement with the material, coupled with her interest in solving an ever-increasing and cumulative set of formal problems posed by her constructions in wire, led her to a series of elaborate permutations."

 

—Tamara H. Schenkenberg, Curator, Pulitzer Arts Foundation

A detail of a sculpture by Ruth Asawa, titled "Untitled (S.381, Hanging Tied-Wire, Double-Sided, Center-Tied, Three-Branched Form Based on Nature)", circa 1965

Ruth Asawa, Untitled (S.381, Hanging Tied-Wire, Double-Sided, Center-Tied, Three-Branched Form Based on Nature), c. 1965 (detail)

Ruth Asawa, Untitled (S.381, Hanging Tied-Wire, Double-Sided, Center-Tied, Three-Branched Form Based on Nature), c. 1965 (detail)

The present work is an example of Asawa's tied-wire sculptures, a series begun in 1962, which—like many of the artist's constructions—explore organic forms and processes. After having been gifted a desert plant whose branches split exponentially as they grew, Asawa quickly became frustrated by her attempts to replicate its structure in two dimensions. Instead, she utilized industrial wire as a means of sculpting and, in doing so, studying its shape.

A work on paper by Ruth Asawa, called Untitled (PT.088, Swans), circa 1963.

Ruth Asawa

Untitled (PT.088, Swans), c. 1963
Brush and black ink on coated paper
25 x 37 3/4 inches (63.5 x 95.9 cm)
Framed: 43 1/8 x 30 1/4 inches (109.5 x 76.8 cm)

Like her wire sculptures, Asawa's works on paper are often built on simple, repeated gestures that accumulate into complex compositions, typically engaging directly with the natural world and its forms. Untitled (PT.088, Swans) (c. 1963) belongs to a group of ink-on-paper drawings depicting her surroundings in San Francisco, including a number of Plane (or, Sycamore) trees.

A photo of Leo Amino completing a construction in polystyrene at his Watts Street apartment studio in Greenwich Village, dated 1958.

Leo Amino completes a construction in polystyrene at his Watts Street apartment studio in Greenwich Village, 1958. Photo by Steve Wada. © The Estate of Leo Amino

Leo Amino completes a construction in polystyrene at his Watts Street apartment studio in Greenwich Village, 1958. Photo by Steve Wada. © The Estate of Leo Amino

Japanese American artist Leo Amino's (1911–1989) plastic, wood, wire, and stone sculptures explore transparency and the dynamics of perception, articulating space, light, and color through geometric and biomorphic sculptural form. Born in Taiwan and educated in Tokyo, Amino immigrated to the United States as a young man in 1929 and settled in New York where he began developing his distinctive sculptural practice.

A polyester resin sculpture by Leo Amino, titled Refractional #121, dated 1978.

Leo Amino

Refractional #121, 1978
Polyester resin
6 x 6 x 5 7/8 inches (15.2 x 15.2 x 14.9 cm)

Amino was invited by Josef Albers to join the faculty of Black Mountain in the summer of 1946, two years after the college’s integration, where he taught alongside the Alberses, Jacob Lawrence, and Walter Gropius. The artist’s experiments with plastics emerged from dissatisfaction with his attempts to incorporate color into traditional sculptural media, anticipating the concerns of minimalist artists that would not gain widespread attention until the 1960s.

A detail of a sculpture by Leo Amino, titled Refractional #121, dated 1978

Leo Amino, Refractional #121, 1978 (detail)

Leo Amino, Refractional #121, 1978 (detail)

Amino dedicated the second half of his career exclusively to these ideas, producing a series of “refractional” compositions with light, color, and transparency. Amino deployed transparency in order to pose the question of the interdependency of subject and object through an optics of encounter, interpenetration, and absorption.

A polyester resin sculpture by Leo Amino, titled Refractional #229, dated 1987.

Leo Amino

Refractional #229, 1987
Polyester resin
8 5/8 x 2 1/4 x 1 3/4 inches (21.9 x 5.7 x 4.5 cm)

As Gregory Gilbert notes, “In the mid-sixties, Amino returned to casting his plastic works, but he began to combine his interest in light refraction with his earlier concern for coloristic effects.… In his works, Amino was able to create subtle but pure coloristic tones by overlapping layers of tinted resin. With this approach, Amino could develop a wide range of tonalities in his pieces by simply relying on a few basic colors.”

A detail of a sculpture by Leo Amino, titled Refractional #229, dated 1987

Leo Amino, Refractional #229, 1987 (detail)

Leo Amino, Refractional #229, 1987 (detail)

A photo of Elaine de Kooning with Buckminster Fuller’s Venetian Blind Strip Dome, dated 1948

Elaine de Kooning and Buckminster Fuller’s Venetian Blind Strip Dome, 1948 Summer Session in the Arts, Black Mountain College, 1948. Photo by Trude Guermonprez. Courtesy Western Regional Archives, State Archives of NC

Elaine de Kooning and Buckminster Fuller’s Venetian Blind Strip Dome, 1948 Summer Session in the Arts, Black Mountain College, 1948. Photo by Trude Guermonprez. Courtesy Western Regional Archives, State Archives of NC

Elaine de Kooning (1918–1989) was a prominent American painter known for her skill as a portraitist. Her energetic figurative works provided an important perspective in the milieu of abstract expressionism. A student of Hunter College and the American Artists School, De Kooning gained prominence in the New York art scene early on in her career, eventually becoming a member of the Eighth Street Club.

An untitled work on paper by Elaine de Kooning, dated 1980.

Elaine de Kooning

Untitled, 1980
Colored ink on paper
11 7/8 x 9 inches (30.2 x 22.9 cm)
Framed: 19 x 15 7/8 inches (48.3 x 40.3 cm)
“A painting to me is primarily a verb, not a noun. An event first and only secondarily an image.”

 

—Elaine De Kooning

A detail of an untitled painting by Elaine De Kooning, dated 1980

Elaine De Kooning, Untitled, 1980 (detail)

Elaine De Kooning, Untitled, 1980 (detail)

The elusive American artist Ray Johnson (1927–1995) developed a conceptual practice that incorporated the concerns of Neo-Dada, Fluxus, and pop, while resisting classification within a single style. After leaving his hometown of Detroit in 1945, Johnson spent three years at Black Mountain in North Carolina, under the tutelage of Josef Albers, John Cage, Merce Cunningham, Lyonel Feininger, and Robert Motherwell.

A photo of Ray Johnson, circa 1968

Ray Johnson, c. 1968 (detail). Altered photo by David Gahr

Ray Johnson, c. 1968 (detail). Altered photo by David Gahr

A work on paper by Ray Johnson, called Untitled (Moticos in Purple and Orange), circa 1954 to 1959.

Ray Johnson

Untitled (Moticos in Purple and Orange), c. 1954-1959
Collage on cardboard panel
11 x 7 1/2 inches (27.9 x 19.1 cm)
Framed: 15 1/2 x 12 1/2 inches (39.4 x 31.8 cm)

Over the course of his five-decade career, much of Johnson’s tangible output took the form of collage. He referred to his early collages, made between 1954 and the early 1960s, as "moticos," an anagram for the word "osmotic," which he chose out of a book at random.

A work on paper by Ray Johnson, called Untitled (Moticos with Silhouette), circa 1954 to 1959.

Ray Johnson

Untitled (Moticos with Silhouette), c. 1954-1959
Collage on cardboard panel
8 3/4 x 7 1/4 inches (22.2 x 18.4 cm)
Framed: 13 1/2 x 11 7/8 inches (34.3 x 30.2 cm)
A work on paper by Ray Johnson, called Untitled (Fuchsia Tree Design), circa 1954 to 1959.

Ray Johnson

Untitled (Fuchsia Tree Design), c. 1954-1959
Collage on illustration board
10 x 7 1/2 inches (25.4 x 19.1 cm)
Framed: 15 1/2 x 12 inches (39.4 x 30.5 cm)

Donna De Salvo, former senior curator at the Whitney Museum of American Art and curator of Ray Johnson: Correspondences at the Whitney, notes, “Through collage, he created a seemingly unending array of juxtapositions using the material evidence of the world—what he would find in newspapers or on the street, receive through the mail, hear in a phone conversation, or come across in a motel room on his way to give a lecture about his work.”

Installation view of the exhibition Black Moutnain College: The Experimenters, at David Zwirner in London, dated 2023

Installation view, Black Mountain College: The Experimenters, David Zwirner, London, 2023

Installation view, Black Mountain College: The Experimenters, David Zwirner, London, 2023

A photo of Sheila Hicks learning to knot with Rufino Reyes, in Oaxaca, Mexico, dated 1961.

Sheila Hicks learning to knot with Rufino Reyes, Mitla, Oaxaca, Mexico, 1961. Photo by Faith Stern

Sheila Hicks learning to knot with Rufino Reyes, Mitla, Oaxaca, Mexico, 1961. Photo by Faith Stern

Sheila Hicks (b. 1934) is one of the most significant fiber artists of the postwar period. Studying under Josef Albers at the Yale School of Art and Architecture in the early 1950s, Hicks began her lifelong interest in the interplay between color and materials.

A mixed media artwork by Sheila Hicks, titled Kilimanjaro, dated 2023.

Sheila Hicks

Kilimanjaro, 2023
Linen
35 3/8 x 47 1/4 inches (90 x 120 cm)

The fundamental idea of an artwork, and the transformative potential of its medium, is what remains paramount to Hicks. Color and scale become vital channels of communication, engendering complex tactile associations and emotive responses. This translation of formal quality to psychical effect manifests across compositions of varying size and spatial engagement.

A photo of the Summer Arts Institute Faculty, at Black Mountain College, dated 1946. Left to right: Leo Amino, Jacob Lawrence, Leo Lionni, Ted Dreier, Nora Lionni, Beaumont Newhall, Gwendolyn Lawrence, Ise Gropius, Jean Varda (in tree), Nancy Newhall (sitting), Walter Gropius, Mary “Molly” Gregory, Josef Albers, Anni Albers.

Summer Arts Institute Faculty, Black Mountain College, 1946. From left to right: Leo Amino, Jacob Lawrence, Leo Lionni, Ted Dreier, Nora Lionni, Beaumont Newhall, Gwendolyn Lawrence, Ise Gropius, Jean Varda (in tree), Nancy Newhall (sitting), Walter Gropius, Mary “Molly” Gregory, Josef Albers, Anni Albers. Courtesy of Western Regional Archives, State Archives of NC

Summer Arts Institute Faculty, Black Mountain College, 1946. From left to right: Leo Amino, Jacob Lawrence, Leo Lionni, Ted Dreier, Nora Lionni, Beaumont Newhall, Gwendolyn Lawrence, Ise Gropius, Jean Varda (in tree), Nancy Newhall (sitting), Walter Gropius, Mary “Molly” Gregory, Josef Albers, Anni Albers. Courtesy of Western Regional Archives, State Archives of NC

“There is no such thing as a Black Mountain aesthetic, no dominant trend that unifies the artistic production of this small community. At Black Mountain, there was a desire to teach students to become more aware of the world around by instilling in them respect for the acts of both perception and process, all in the service of honing their critical skills.”

 

—Helen Molesworth, Leap Before You Look: Black Mountain College 1933–1957

Detail of a Joseph Albers painting

On view in London

Josef Albers: Paintings Titled Variants

Inquire about works in Black Mountain College: The Experimenters

An installation view of the exhibition, Black Mountain College: The Experimenters, at David Zwirner in London, dated 2023.
An installation view of the exhibition, Black Mountain College: The Experimenters, at David Zwirner in London, dated 2023.
An installation view of the exhibition, Black Mountain College: The Experimenters, at David Zwirner in London, dated 2023.
An installation view of the exhibition, Black Mountain College: The Experimenters, at David Zwirner in London, dated 2023.
An installation view of the exhibition, Black Mountain College: The Experimenters, at David Zwirner in London, dated 2023.
A drawing by Anni Albers, titled Wall V, dated 1983.

Anni Albers

Wall V, 1983
Watercolor on screenprint
28 1/2 x 22 1/2 inches (72.4 x 57.2 cm)
Framed: 31 x 25 inches (78.7 x 63.5 cm)
A drawing by Anni Albers, called Untitled, n.d.

Anni Albers

Untitled, n.d.
Felt-tip pen on tracing paper
11 3/4 x 9 inches (29.8 x 22.8 cm)
Framed: 14 5/8 x 12 5/8 inches (37.1 x 32.1 cm)
A print by Josef Albers, titled Tlaloc, dated 1944.

Josef Albers

Tlaloc, 1944
Woodcut in rough pine board on Japanese paper
Image: 12 x 12 1/2 inches (30.5 x 31.8 cm)
Sheet: 15 x 14 1/2 inches (38.1 x 36.8 cm)
Framed: 17 1/8 x 17 7/8 inches (43.5 x 45.5 cm)
A print by Josef Albers, titled Inscribed, dated 1944.

Josef Albers

Inscribed, 1944
Cork relief on Japanese paper
Image: 8 3/4 x 11 1/4 inches (22.2 x 28.6 cm)
Sheet: 12 x 15 1/2 inches (30.5 x 39.4 cm)
Framed: 14 3/4 x 18 1/4 inches (37.5 x 46.5 cm)
A polyester resin sculpture by Leo Amino, titled Refractional #229, dated 1987.

Leo Amino

Refractional #229, 1987
Polyester resin
8 5/8 x 2 1/4 x 1 3/4 inches (21.9 x 5.7 x 4.5 cm)
A polyester resin sculpture by Leo Amino, titled Refractional #121, dated 1978.

Leo Amino

Refractional #121, 1978
Polyester resin
6 x 6 x 5 7/8 inches (15.2 x 15.2 x 14.9 cm)
A sculpture by Leo Amino, titled Refractional #81, dated 1972.

Leo Amino

Refractional #81, 1972
Polyester resin
15 7/8 x 10 7/8 x 2 3/4 inches (40.3 x 27.6 x 7 cm)
A hanging brass wire sculpture by Ruth Asawa, called Untitled (S.263, Hanging or Wall-Mounted Tied-Wire, Double-Sided, Open-Center, Six-Branched Form Based on Nature), circa 1965.

Ruth Asawa

Untitled (S.263, Hanging or Wall-Mounted Tied-Wire, Double-Sided, Open-Center, Six-Branched Form Based on Nature), c. 1965
Hanging or Wall-mounted sculpture—brass wire
14 5/8 x 14 x 8 inches (37.1 x 35.6 x 20.3 cm)
A copper wire sculpture by Ruth Asawa, called Untitled (S.350, Hanging Two Interlocking Forms with Fluted Edges), circa 1960s.

Ruth Asawa

Untitled (S.350, Hanging Two Interlocking Forms with Fluted Edges), 1960s
Hanging sculpture—copper wire
8 x 12 x 12 inches (20.3 x 30.5 x 30.5 cm)
A brass wire sculpture by Ruth Asawa, called Untitled (S.381, Hanging Tied-Wire, Double-Sided, Center-Tied, Three-Branched Form Based on Nature), circa 1965.

Ruth Asawa

Untitled (S.381, Hanging Tied-Wire, Double-Sided, Center-Tied, Three-Branched Form Based on Nature), c. 1965
Hanging sculpture—brass wire
9 x 9 x 5 3/4 inches (22.9 x 22.9 x 14.6 cm)
A work on paper by Ruth Asawa, called Untitled (PT.088, Swans), circa 1963.

Ruth Asawa

Untitled (PT.088, Swans), c. 1963
Brush and black ink on coated paper
25 x 37 3/4 inches (63.5 x 95.9 cm)
Framed: 43 1/8 x 30 1/4 inches (109.5 x 76.8 cm)
An untitled work on paper by Elaine de Kooning, dated 1980.

Elaine de Kooning

Untitled, 1980
Colored ink on paper
11 7/8 x 9 inches (30.2 x 22.9 cm)
Framed: 19 x 15 7/8 inches (48.3 x 40.3 cm)
An untitled work on paper by Willem de Kooning, dated 1965.

Willem de Kooning

Untitled, c. 1965
Charcoal on paper
8 3/8 x 11 inches (21.3 x 27.9 cm)
Framed: 16 x 18 3/8 inches (40.6 x 46.7 cm)
A work on paper by Buckminster Fuller, titled Dymaxion House, dated 1928.

Buckminster Fuller

Dymaxion House, 1928
Graphite on tracing paper
18 1/2 x 13 1/2 inches (47 x 34.3 cm)
Framed: 25 1/2 x 20 3/8 inches (64.8 x 51.8 cm)
A work on paper by Sue Fuller, titled New York, New York!, dated 1949.

Sue Fuller

New York, New York!, 1949
Watercolor on paper
20 1/8 x 15 inches (51 x 38 cm)
Framed: 27 3/4 x 22 1/2 inches (70.5 x 57 cm)
A print by Sue Fuller, titled New York, New York!, dated 1950.

Sue Fuller

New York, New York!, 1950
Lithograph on paper
21 x 15 inches (53.5 x 38 cm)
Framed: 28 1/2 x 20 7/8 inches (72.5 x 53 cm)
A painting by Sue Fuller, titled String Composition #81, dated 1957.

Sue Fuller

String Composition #81, 1957
Polypropylene thread on raw canvas and linen in artist's frame
24 3/8 x 36 3/8 inches (62 x 92.5 cm)
A mixed media artwork by Sheila Hicks, titled Kilimanjaro, dated 2023.

Sheila Hicks

Kilimanjaro, 2023
Linen
35 3/8 x 47 1/4 inches (90 x 120 cm)
A work on paper by Ray Johnson, called Untitled (Fuchsia Tree Design), circa 1954 to 1959.

Ray Johnson

Untitled (Fuchsia Tree Design), c. 1954-1959
Collage on illustration board
10 x 7 1/2 inches (25.4 x 19.1 cm)
Framed: 15 1/2 x 12 inches (39.4 x 30.5 cm)
A work on paper by Ray Johnson, called Untitled (Moticos in Purple and Orange), circa 1954 to 1959.

Ray Johnson

Untitled (Moticos in Purple and Orange), c. 1954-1959
Collage on cardboard panel
11 x 7 1/2 inches (27.9 x 19.1 cm)
Framed: 15 1/2 x 12 1/2 inches (39.4 x 31.8 cm)
A work on paper by Ray Johnson, called Untitled (Moticos with Silhouette), circa 1954 to 1959.

Ray Johnson

Untitled (Moticos with Silhouette), c. 1954-1959
Collage on cardboard panel
8 3/4 x 7 1/4 inches (22.2 x 18.4 cm)
Framed: 13 1/2 x 11 7/8 inches (34.3 x 30.2 cm)
A work on paper by Ray Johnson, called Untitled (Blue Moticos),  circa 1954 to 1959.

Ray Johnson

Untitled (Blue Moticos), c. 1954-1959
Collage on cardboard panel
11 x 7 1/2 inches (27.9 x 19.1 cm)
Framed: 15 1/2 x 12 inches (39.4 x 30.5 cm)

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