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

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’.”

Tom Holmes

untitled Arrangement, 2012
Collage and acrylic on paper, 10 x 6.25 inches

untitled Bulletin, 2012
Powder coated steel, plaster, concrete, rope
72 x 31 x 7 inches

untitled Program, 2011
Plywood, acrylic, pencil, laminated inkjet and watercolor, upholstery tack, 24 x 12 inches

Gravestone, 2010 
Cinderblocks, paint, 40 x 50 x 5 inches

(Source: museumuesum)

Andreas Feininger
Portal in Greifswald, 1928
Gelatin silver print, 23.4 x 17.5 cm

Andreas Feininger

Portal in Greifswald, 1928

Gelatin silver print, 23.4 x 17.5 cm

Michel Seuphor
Paris, 1929
Gelatin silver print, 4 1/2 x 6 7/16 inches

Michel Seuphor

Paris, 1929

Gelatin silver print, 4 1/2 x 6 7/16 inches

Fiona Banner

1909-2011, 2010

97 Jane’s All the World’s Aircraft books, 22 x 35 x 375 cm

1909 – 2011 is a four metre stack of Jane’s All the World’s Aircraft books, the iconic compendium for the aeronautical industry. Collecting is a recurrent theme in Banner’s work, and she has compiled this collection over a period of twenty years. Jane’s All the World’s Aircraft represents a shared knowledge, beyond political and national boundaries. As a collection it embodies the history of manned flight and the development of an unwieldy military industry. Now as a very grounded, yet slightly implausible tower, the books have been transformed, through the simplest of means, from a library, list and collection into a piece of sculpture.

(Source: museumuesum)