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

David Shrigley

Untitled (The sky), 2010, Ink on paper, 11 1/2 x 8 1/4 inches

Untitled (Day is night…), 2010, Ink on paper, 11 1/2 x 8 1/4 inches

Untitled, 2009, Ink on paper, 11 1/2 x 8 1/4 inches

(Source: museumuesum)

Joe Bradley
Human Heart, 2009 
Oil on canvas, 88 x 113 in (223.52 x 287.02 cm)

Joe Bradley

Human Heart, 2009 

Oil on canvas, 88 x 113 in (223.52 x 287.02 cm)

Katharina Fritsch
Heiligenfigur (St. Michael) / Figure of a Saint (St. Michael), 2008
Polyester, paint, 66 1/2 x 26 x 22 1/2 inches; 169 x 66 x 57 cm

Katharina Fritsch

Heiligenfigur (St. Michael) / Figure of a Saint (St. Michael), 2008

Polyester, paint, 66 1/2 x 26 x 22 1/2 inches; 169 x 66 x 57 cm

Henri Cartier-Bresson
Seville, Spain, 1933

Henri Cartier-Bresson

Seville, Spain, 1933

Pratchaya Phinthong

What I learned I no longer know; the little I still know, I guessed, 2009

Stack of Zimbabwean Dollars banknotes, 100 x 100 cm

(Source: museumuesum)

Devin Troy Strother

A Black John Baldessari in, “Nigga This is Art” part 1, 2012, acrylic and paper on panel, 8 x 10 inches

A Black Joseph Beuys in, “Nigga in a gallery with a coyote,” 2012, acrylic, fabric and cut paper on canvas, 12 x 17 inches

A Black Chris Burden in, “Shoot me in the arm nigga,” 2012, acrylic and paper on canvas, 8 x 10 inches

A Black Marina Abramovic in “I’m gonna fuckin’ shoot you with this arrow”, 2012, Acrylic, gouache and paper collage on panel, 10 x 8 inches

(Source: museumuesum)

Kenneth Goldsmith

Kenneth Goldsmith Sings Roland Barthes, 2006

MP3, 13:05 duration

Music by The Allman Brothers

Recorded at the WFMU studios, Jersey City, New Jersey

(Source: museumuesum)

Steve McCurry
Camel and Oil Fields, Ahmadi Oil Fields, Kuwait, 1991

Steve McCurry

Camel and Oil Fields, Ahmadi Oil Fields, Kuwait, 1991

Robert Pratt 
Display Unit (Pieces of a Man), 2012
Wood, household gloss, clay, 62 x 31 x 81 inches

Robert Pratt

Display Unit (Pieces of a Man), 2012

Wood, household gloss, clay, 62 x 31 x 81 inches

Ed Ruscha

Pussy, 1966

Powdered graphite and pencil on paper, 6 3/4 x 4 3/4 inches

(Source: museumuesum)

Qiu Zhijie

Writing the “Orchid Pavilion Preface” One Thousand Times, 1990–95

Five chromogenic prints, 19 1/4 × 29 inches each

This photographic documentation of Qiu’s best-known, process-driven work exemplifies his early interest in the performative aspect of calligraphy, particularly the pedagogical method of repeatedly copying a model until its brush movements become second nature. The “Orchid Pavilion Preface,” written by the patriarch of calligraphy Wang Xizhi (303–61), has long been revered as the unsurpassed model of cursive writing. Repeatedly writing over his free-hand interpretation of the original, Qiu turns the paper into a saturated black field. By focusing on the process of writing rather than its literary content, Qiu asserts that the ultimate goal of calligraphic practice is “a form of ‘written meditation’.”