New York Magazine
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Untitiled (The Cow Jumps Over the Moon)
1937-38.
Artwork © 2011 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York and Courtesy the Museum of Modern Art
Pink Angels
c. 1945.
Interchange
1955.
Untitled
1967.
...Whose Name Was Writ in Water
1975.
Rider (Untitled VII)
1985.
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.