Matt Mullican, Untitled (Cosmology over Material), 1984
Oil stick and acrylic on canvas. 72 x 48 in.
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Matt Mullican, Mapping the world
Kunsthalle St. Annen, Lübeck, 2022
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Matt Mullican, Untitled (Overall Chart: Frame Centered Elements), (acrylic, oil on canvas), 2010 [Mai 36 Galerie, Zürich. © Matt Mullican]
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>>ALLE FARBEN FIXIEREN CHROMOSOMALE GLIEDER<<
#Lingen: ALLE FARBEN FIXIEREN CHROMOSOMALE GLIEDER - Neue Ausstellung in der Kunsthalle, Kaiserstraße 10a, Eröffnung morgen 19 Uhr, dann bis zum 7. Mai Di-Fr 10-17 Uhr, Sa/so 11 - 17 Uhr
ALLE FARBEN FIXIEREN CHROMOSOMALE GLIEDER
Werke von Diana Barbosa Gil, Stano Filko, Ryan Gander, Ana Jotta, Matt Mullican, Johanna Odersky, Tillmann Terbuyken
Lingen (Ems) – Kunsthalle, Kaiserstraße 10a
Eröffnung, Freitag, 10. März, 19 Uhr
Sa 11. März – So 7. Mai 2023 – Di bis Fr 10-17 Uhr, Sa/so 11 – 17 Uhr
Eintritt 3 Euro, ermäßigt 1,50 Euro
Den Auftakt des Ausstellungsprogramms 2023 der…
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Matt Mullican’s “Untitled” (2011) at MNR Rye station honors Modernist designer and architect, Marcel Breuer, whose architecture includes the original Rye Station building. The work incorporates views of various Breuer-designed buildings throughout Europe and the US, rendered in Mullican’s graphic style.
An earlier work by Mullican of the same name “Untitled” (1989) at 50 St (C,E) station also draws upon architectural histories. The large, sandblasted black granite mural presents a timeline of the history of the station site. The artist employs an iconographic visual vocabulary tracing time from a natural landscape to the former site of Madison Square Garden from 1925 until 1968. Mullican’s work frequently explores systems of knowledge, meaning, language, and signification. Catch his solo exhibition “Sunday, August 9, 1908,” On view at Peter Freeman, Inc. in New York through April 15.
Photos: Jason Mandella, Trent Reeves
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Library
20/07
Got some books out, also took note of some interesting looking text based artists:
Matt Mullican
drawing translates the way of thinking
combine recognisable signs (numbers and lettering) with swirling, gestural marks
collectively form a diagram of the artist's personal and artistic subjectivity
represent his exploration of the legibility and purpose of sign systems in the mapping of an individual
Susan Hiller, Ten Months, 1977–1979.
consists of 10 framed pictures, each containing 28 individual photographs—one for each day of the lunar month—of her growing stomach over the course of her pregnancy
collates, organises and classifies information ,put into a serial, gridded aesthetic
incorporates elements of anthropology, psychoanalysis, and the occult
enhances and expands the collection of conceptual and performance photographs
accompanied by extracts from diary entires annotating her personal experiences
drawing a visual reference to the lunar months, establishes an anxiety between the relationship of the female body and nature to repetitive practises and information systems
Tauba Auerbach, Lowercase components, 2005.
Ink and pencil on paper mounted to wood panel
Robert Smithson, A Heap of Language, 1966.
draws smith's concerns into unity
analyses the possibilities of language as a medium, as workable as paint or plaster and with physical properties
commensurate with nature and landscape
Catherine Street, Untitled Drawing part I, 2008.
Hanne Darboven, Untitled (Song), 1968.
construction of her abstract drawings soon came to rely on geometric or algebraic operations (addition, permutation, inversion)
Source:
Aimee Selby, Art and Text (London: Black Dog, 2009).
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Matt Mullican, Cosmology, 1988
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From: Rosebud. Jenny Holzer, Matt Mullican, Lawrence Weiner, Edited by Michael Tarantino and Ulrich Wilmes, Kunstbau Lenbachhaus, München, 1994 [Exhibitions: Kunstbau Lenbachhaus, München, December 14, 1994 – February 12, 1995; Fundació Joan Miró, Barcelona, September 21 – November 26, 1995] [Walker Art Center, Minneapolis, MN. © ARS, New York]
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