museumuesum

THE INTERSECTIONS OF ABSTRACTION, TEXT & LANGUAGE, POST-MODERNIST AESTHETICS, EXPERIMENTAL, PERFORMATIVE, MULTI-MEDIA APPROACHES TO ARTMAKING // ORIGINAL CONTENT SELECTED BY JONATHAN WEISKOPF, BROOKLYN, NY
Salvador Dali
Still Life - Fast Moving, 1956
 Oil on canvas. 49 1/2 x 63 in.

Salvador Dali

Still Life - Fast Moving, 1956

Oil on canvas. 49 1/2 x 63 in.

Sarah Charlesworth

Thomas Brooks Simmons, Bunker Hill Towers, Los Angeles, 1980
Black and white mural print, 42” x 78”


In 1980 Sarah Charlesworth searched the archives of wire services and tabloid newspapers for pictures of falling figures. From a selection of seventy she rephoto-graphed seven of the grainy images and enlarged them to human scale; her subjects are transformed into semi-abstract shapes hovering in front of the grids of blurry windows. Each of Charlesworth’s Stills (as the series was called) is unique and entitled with only the name of the subject, the building from which he or she fell, and the city; like tombstones, they declare only the facts, but not the manner, of the death. The most obvious precedent for the Stills are Andy Warhol’s paintings of suicide jumpers from two decades earlier, which famously literalized the numbing effect of incessant exposure to traumatic events as experienced through the mass media. Charlesworth’s works, on the other hand, are individual encounters with the mysteries of fate: it is not surprising to learn that her actual inspiration was Thornton Wilder’s The Bridge of San Luis Rey (1927), which chronicles a priest’s search for meaning after witnessing the collapse of an ancient footbridge and the resulting deaths of five people.

Sarah Charlesworth

Thomas Brooks Simmons, Bunker Hill Towers, Los Angeles, 1980

Black and white mural print, 42” x 78”

In 1980 Sarah Charlesworth searched the archives of wire services and tabloid newspapers for pictures of falling figures. From a selection of seventy she rephoto-graphed seven of the grainy images and enlarged them to human scale; her subjects are transformed into semi-abstract shapes hovering in front of the grids of blurry windows. Each of Charlesworth’s Stills (as the series was called) is unique and entitled with only the name of the subject, the building from which he or she fell, and the city; like tombstones, they declare only the facts, but not the manner, of the death. The most obvious precedent for the Stills are Andy Warhol’s paintings of suicide jumpers from two decades earlier, which famously literalized the numbing effect of incessant exposure to traumatic events as experienced through the mass media. Charlesworth’s works, on the other hand, are individual encounters with the mysteries of fate: it is not surprising to learn that her actual inspiration was Thornton Wilder’s The Bridge of San Luis Rey (1927), which chronicles a priest’s search for meaning after witnessing the collapse of an ancient footbridge and the resulting deaths of five people.


Felix Gonzalez-Torres
Untitled (Dream), 1991
chromogenic print jigsaw puzzle in a sealed plastic sleeve, 7½ x 9½ in.

Felix Gonzalez-Torres

Untitled (Dream), 1991

chromogenic print jigsaw puzzle in a sealed plastic sleeve, 7½ x 9½ in.


László Moholy-Nagy
From the radio tower, Berlin, 1928
Gelatin silver print, 28 x 21.3 cm

László Moholy-Nagy

From the radio tower, Berlin, 1928

Gelatin silver print, 28 x 21.3 cm

Carol Bove
Untitled, 2009
peacock feathers on linen, laid on board in Plexiglas frame, 38 7/8 x 24 3/4 x 5 1/8 in.

Carol Bove

Untitled, 2009

peacock feathers on linen, laid on board in Plexiglas frame, 38 7/8 x 24 3/4 x 5 1/8 in.

Elisheva Biernoff

Blossom, 2013, Acrylic and oil on 1/32” plywood, 3.5 x 5.5 and 3.5 x 3.5 inches

Women and Redwoods, 2012, Acrylic on 1/32” plywood, 4.25 x 3.125 and 3.25 x 4.5 inches

Couple, 2013, Acrylic on 1/32” plywood, 4.25 x 2.5 and 3.5 x 2.5 inches

(Source: museumuesum)

Hans-Peter Feldmann 

Dancefloor with shoes, undated
2 pairs of shoes and wooden board, 59 3/4 x 42 1/4 in

Hans-Peter Feldmann

Dancefloor with shoes, undated

2 pairs of shoes and wooden board, 59 3/4 x 42 1/4 in

CECILY BROWN
A Rubber Monkey Flexing Its Paw, 2005
Oil on linen, 43 x 65 inches

CECILY BROWN

A Rubber Monkey Flexing Its Paw, 2005

Oil on linen, 43 x 65 inches

Martin Creed
Work No. 261 (THINGS), 2001
neon, 5 7/8 x 27 1/2 inches

Martin Creed

Work No. 261 (THINGS), 2001

neon, 5 7/8 x 27 1/2 inches